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P»nt»<^\ 


The  First  Position 


Dancing 

BY 

Marguerite  Wilson 


A  COMPLETE  GUIDE  TO  ALL 
DANCES,  WITH  A  FULL  LIST  OF 
CALLS,  THE  MUSIC  FOR  EACH 
FIGURE,  ETIQUETTE  OF  THE 
DANCES.  AND  ONE  HUNDRED 
FIGURES    FOR   THE   GERMAN 


Philadelphia 
The  Penn  Publishing  Company 

1911 


Copyright  1899  by  The  Penn  PuBLi^HiNG  Comfan* 


CONTENTS 


PAOB 

Introducttion 9 

Positions  and  Motions 11 

Change 14 

Slide 16 

Step     16 

Leap 16 

Hop 19 

Halt 19 

Salute 19 

The  Grand  March 21 

Square  Dances,  or  Quadrilles,  with  Calls 28 

Plain  Quadrille 31 

Waltz  Quadrilles 38 

Additional  Quadrille  Figures 44 

Basket  Figure 44 

Cheat  Figure 45 

Minuet  Figure 46 

Sociable 47 

Jig  Figure 49 

Nine-Pin  Figure 49 

Star  Figure 50 

f/25862  6 


6  CONTENTS 

PAOV 

The  Lancers 51 

Waltz  Lancers 56 

Saratoga  Lancers 59 

The  Caledonians 63 

Waltz  Caledonians 68 

The  Cally  Polka  Quadrille 69 

Prince  Imperial  Quadrille 77 

Parisian  Varieties    . 84 

National  Guard  Quadrille 88 

Contra  Dances 95 

Virginia  Reel 95 

Pop  Goes  the  Weasel 98 

Lft  Temp6te 100 

Spanish  Dance 102 

Sicilian  Circle  .   - 104 

Round  Dances 107 

Waltz 109 

Two  Step 114 

Galop 115 

Polka 116 

Three  Slide  Polka 119 

Berlin 119 

Heel-and-Toe  Polka 120 

Military  Schottische 121 

Five  Step 122 

Yorke 123 

Caprice  Waltz 124 


CONTENTS  7 

PAOB 

Christmas  Polka .126 

Racket 126 

Highland  Schottische 127 

The  German  or  Cotillion,  100  Figures 131 

Figures  Beginning  with  one  Couple      135 

Figures  Beginning  with  two  Couples 153 

Figures  Beginning  with  three  Couples 163 

Figures  Beginning  with  four  or  more  Couples  .   .  167 

The  Minuet 198 

The  Quadrille  Minuet 195 

La  Pavane 198 

Etiquette  of  Balls  and  Parties .  203 


INTRODUCTION 

This  volume  does  not  claim  to  be  an  exhaustive 
treatise  on  the  subject  of  dancing.  It  is  designed  to 
furnish  practical  assistance  to  those  who,  lacking  an 
opportunity  for  instruction  in  this  direction,  desire 
to  qualify  themselves  for  participation  in  this  most 
delightful  and  popular  recreation.  To  this  end,  ob- 
solete dances  have  been  omitted,  as  well  as  certain 
others,  which,  though  generally  taught  in  dancing 
academies  and  valuable  enough  in  themselves,  have 
yet  failed  to  attain  that  popularity  which  insures  a 
place  on  our  social  programmes.  A  knowledge  of  a 
very  few  dances  is  sufficient,  at  the  present  time,  for 
all  practical  purposes.  The  majority  of  programmes 
are  made  of  Waltzes  and  Two-steps,  with  an  occa- 
sional set  of  Lancers  or  a  Waltz  Quadrille  thrown 
in  to  vary  the  monotony.  The  Polka,  Schottische, 
Galop,  Yorke  and  Contra-Dance,  though  not  strictly 
fashionable  at  present,  are  occasionally  danced. 

Beginners  should  master,  first  of  all,  the  positions 
and  steps  described  on  pages  7  to  20,  practicing  them 
diligently  until  change  from  one  to  another  can  be 
easily  and  gracefully  made. 

9 


10  Introduction 

In  the  Square  Dances,  the  Plain  Quadrille  and 
the  Plain  Lancers  should  be  thoroughly  understood 
before  any  of  the  more  elaborate  figures  are  at- 
tempted. In  learning  the  round  dances,  begin  with 
the  Waltz,  following  with  the  Deux-Temps,  Polka 
and  Schottische.  When  these  are  mastered  all  other 
steps  will  be  easily  learned. 


DANCING 
I 

PRELIMINARY  DIRECTIONS 

POSITIONS  AND  MOTIONS 

Wh  Je  the  directions  for  each  dance  refer  specifi- 
cally to  positions  and  motions  of  the  feet  and  lower 
limbs,  it  must  not  be  forgotten  that  a  graceful  and 
easy  carriage  of  the  entire  body  is  an  essential  of  good 
dancing.  A  course  in  physical  training,  particularly 
in  that  department  included  in  the  term  "Esthetic 
Gymnastics,"  is  invaluable  to  one  who  wishes  to  be- 
come expert  in  this  art.  The  head  and  body  should 
be  held  erect,  without  stiffness,  the  shoulders  straight, 
and  the  chest  lifted.  The  carriage  of  the  arms  will 
be  referred  to  more  particularly  hereafter. 

There  are  five  positions  of  the  feet  recognized  in 
dancing. 

11 


12 


•  :S)'ancln0 


FtRST  POSITION 

Stand  with  the  heels  together,  the  feet  forming  a 
right  angle,  with  the  weight  of  the  body  thrown 
principally  upon  the  balls  of  the  feet.  Let  the  arms 
hang  easily  at  the  sides.  The  tcrso  should  incline 
vei^  slightly  forward.  This  jjosition  is  the  key  to  all 
the  others.     (See  Frontispiece.) 

SECOND  POSITION 

Stand  with  the  weight  upon  one  foot  and  extend 
the  free  foot  straight  to  the  side,  with  the  heel 
lifted  and  the  toe  touch- 
ing the  floor. 

Second  Position  of 
THE  Right,  when  the 
right  foot  is  extended. 

Second  Position  of 
THE  Left,  when  the  left 
£oot  is  extended. 


THIRD  POSITION 

Stand  with  the  weight  upon 
both  feet,  with  the  heel  of  one 
touching  the  hollow  of  the  other, 
the  feet  forming  an  angle  of  aboui 
sixty  degrees. 


Iprcltmtnars  Dkections 


IS 


Third  Position  of  the  Right,  when  the  right 
foot  is  in  front. 

Third  Position  of  the  Left,  when  the  left  foot 
is  in  front. 

FOURTH  POSITION 

Stand  on  one  foot  with  the  free  foot  extended  for- 
ward at  an  angle  of  sixty  degrees,  the  heel  lifted  and 
the  toe  touching  the  floor. 

Fourth  Position  Be- 
hind.— Stand  on  one  foot 
and  extend  the  free  foot 
backward  with  the  heel 
lifted  and  the  toe  touch- 
ing the  floor. 

Fourth  Position  of 
THE  Right,  when  the 
right  foot  is  extended. 


Fourth  Position  of  the 
Left,  when  the  left  foot  id 
extended. 

FIFTH  POSITION 

Stand  on  both  feet,  with  the 
heel  of  one  foot  touching  the 
toe  of  the  other,  the  feet  form- 
ing a  right  angle. 


14  '  Dancfng 

Fifth  Position  of  the  Right,  when  the  right  is  in 
front. 

Fifth  Position  of  the  Left,  when  the  left  is  in 
front. 

These  positions  should  all  be  practiced  until  one 
can  pass  quickly  and  smoothly  from  one  to  another. 
Keep  the  head  erect  and  the  arms  easily  relaxed. 
In  all  standing  positions  avoid  sagging  at  the  hip  and 
knee.  Energy  and  firmness  without  rigidity,  and 
flexibility  without  limpness,  are  characteristics  of  all 
correct  and  graceful  muscular  action. 

Every  dance  is  made  up  of  two  or  more  of  the 
following  six  radical  motions:  Change,  Slide,  Step, 
Leap,  Hop,  and  Halt.  In  practicing  these  move- 
ments remember  that  they  are  executed  entirely  by 
the  lower  limbs  and  feet,  and  sedulously  avoid  stiff- 
ness or  contortion  of  the  upper  part  of  the  body. 

THE  CHANGE 

In  each  form  of  this  movement  the  weight  is  trans- 
ferred from  one  foot  to  the  other,  and  a  slight  spring 
is  made  just  as  the  change  is  effected. 

Sideways  Change. — Stand  with  the  left  foot  in 
second  position.  Bring  the  heel  of  the  left  foot  to 
the  heel  of  the  right,  transferring  the  weight  to  the 
left  foot.  At  the  same  time  relax  and  slightly  raise 
the  right  foot,  which  is  thus  prepared  for  the  execu- 


preliminary  directions  15 

tion  of  the  next  step  required.  Practice  also  starting 
with  the  right  foot  in  second  position. 

Forward  Change. — Stand  with  left  foot  in  fourth 
position  behind.  Bring  the  heel  of  left  foot  to  the 
heel  of  the  right,  transferring  the  weight  to  the  left 
foot  and  slightly  lifting  the  right  in  preparation  for 
the  next  step.  Practice  also  starting  with  right  foot 
in  fourth  position  behind. 

Backward  Change. — Starting  with  left  foot  in 
fourth  position  in  front,  bring  left  heel  back  to  right 
heel,  transfer  weight  to  left  foot  and  slightly  raise 
right,  ready  for  the  next  step.  Practice  also  starting 
with  right  foot  in  fourth  position  in  front. 

THE  SLIDE 

This  movement  consists  simply  in  sliding  the  foot 
sideways,  forward  or  back,  without  lifting  the  toes 
from  the  floor. 

Sideways  Slide. — Starting  with  left  in  second 
position,  slide  the  foot  several  inches  farther  to  the 
left  and  transfer  weight  to  that  foot,  at  the  same  time 
drawing  right  to  second  position.  Slide  to  the  right 
in  the  same  manner. 

Forward  Slides. — Start  with  left  in  fourth  posi- 
tion. Slide  forward  several  inches  on  the  left,  trans- 
ferring the  weight  to  that  foot,  and  bring  right  to 
fourth  position.  Repeat,  sliding  forward  on  the  right. 


16  Pancfttfl 

Backward  Slides. — Start  with  left  in  the  fourth 
position  behind.  Slide  backward  several  inches  on 
the  left  and  bring  the  right  to  fourth  position  behind. 
Repeat,  sliding  backward  on  the  right. 

Two  OR  MORE  SUCCESSIVE  SLIDES  WITH  THE  SAME 
FOOT  REQUIRE  A  CHANGE  BETWEEN  EACH  SLIDE  Aj^D 
THE  SUCCEEDING  ONE. 

THE  STEP 

This  is  the  ordinary  movement  made  in  walking, 
and  is  subject  to  the  same  rules,  except  that  in 
dancing  the  feet  are  scarcely  lifted  at  all  but  are 
slipped  easily  along  the  floor.  The  weight  should 
be  poised  on  the  balls  of  the  feet,  the  toes  turned  out 
and  the  steps  taken  on  a  straight  line  forward  or 
backward. 

THE  LEAP 

This  movement  requires  great  elasticity  and  light- 
ness, but  is  by  no  means  so  vigorous  as  the  name 
implies,  having  been  greatly  modified  in  modern 
dancing.  As  now  executed  it  is  simply  a  light, 
springy  step  from  one  foot  to  the  other,  the  spring 
being  imparted  to  the  movement  by  slightly  bending 
and  then  straightening  the  knee  from  which  the 
step  is  made.  It  should  be  practiced  sideways,  for- 
ward and  backward.     As  in  the  case  of  the  Slide, 


•^'^^  yl^^Tii^ 


ff 


The  CouBTEaY 


ptcUmlnarB  directions  19 

two  successive  leaps,  with  the    same  foot  leading, 
require  a  change  between  them. 

THE  HOP 

This  movement  has  also  undergone  considerable 
modification.  As  now  executed  it  consists  in  rising 
lightly  as  high  as  possible  on  the  toes  of  one  foot  and 
sinking  again  to  the  ordinary  position.  This  must 
be  done  smoothly.  The  free  foot  may  be  extended 
or  its  heel  may  lightly  touch  the  heel  of  the  foot  on 
which  the  hop  is  made. 

THE  HALT 

This  motion  consists  simply  in  bringing  the  feet 
to  first  position  and  stopping. 

THE  SALUTE 

The  salutations  used  in  dancing  are  the  bow  for 
the  gentleman  and  the  courtesy  for  the  lady. 

The  Bow. — The  bow  is  very  simple  and  is  exe- 
cuted in  the  following  movements  : 

1.  Take  a  short  step  sideways. 

2.  Draw  the  free  foot  to  first  position. 

3.  Bend  forward  from  the  waist.  At  the  com- 
mencement of  this  movement  the  eyes  should 
be  directed  toward  the  person  saluted,  but  at  its  con- 


20  WnrxcirxQ 

elusion  the  head  is  slightly  bowed  and  the  eyes,  con- 
sequently, lowered.     Let  the  arms  hang  relaxetl. 

4.  Recover  erect  position,  the  eyes  being  again 
directed  towards  the  person  salulud.  Practice  these 
movements  slowly  and  smoothly. 

The  Courtesy. — Starting  with  the  weight  on  the 
left  foot,  slide  right  foot  to  second  position,  transfer- 
ring the  weight  to  it;  pass  the  left  foot  back  and 
transfer  the  weight  to  it.  Sink  down  by  bending 
both  knees,  and  at  the  same  time  bend  forward  at 
the  waist.  Recover  erect  position  and  draw  the 
right  foot  back  to  the  left.  Practice  also  starting 
with  the  weight  on  the  right  foot,  sliding  to  the  left, 
and  passing  the  right  foot  back. 

All   these   movements   should   be   executed  witi 
great  deliberation  and  smoothness. 


n 

THE  GRAND  MARCH 

The  Grand  March  is  a  feature  of  all  formal  balls. 
It  generally  marks  the  beginning  of  the  evening's 
festivities,  but  may,  for  special  reasons,  be  deferred 
to  a  later  point  in  the  programme.  It  is  led  by  the 
master  of  ceremonies,  or  by  some  specially  honored 
guest.  Each  lady  marches  at  her  partner's  right. 
Care  should  be  taken  to  keep  all  the  couples  equi- 
distant from  each  other,  and  all  those  in  line  should 
strive  to  exactly  follow  the  movements  of  the  leader 
and  his  partner. 

The  leader  first  marches  around  the  room  in 
straight  lines,  following  the  direction  of  the  walls 
and  making  the  angles  formed  in  turning  the  cor- 
ners sharply  and  clearly  defined.  By  the  time  the 
circuit  of  the  room  has  been  made  two  or  three 
times,  all  are  supposed  to  be  in  line  and  in  step,  and 
the  leader  may  then  begin  to  introduce  evolutions  of 
various  kinds  at  his  discretion,  always  returning  to 
the  plain  march  after  each  special  figure,  that  there 
may  be  no  confusion.     One  who  is   original  and 

21 


22 


Dancfno 


skillful  can  plan  and  carry  out  many  fanciful  and 
intricate  evolutions,  but  as  a  rule  it  is  safer  to  limit 
one's  self  to  the  simpler  movements  which  can  be 
readily  understood  and  followed  by  those  less  ex- 
perienced. The  following  are  some  of  the  most 
popular  figures  employed.  The  accompanying  di- 
agram may  assist  in  rendering  the  explanations 
clear. 

X  represents  the  centre  of  the  room ;  A,  B,  C,  and 

1),  the  four  corners.  1 
indicates  the  head  of  the 
room,  and  2  the  opposite 
end.  In  the  plain  march 
the  line  is  supposed  to 
march  from  A  to  B  to  C 
to  D  to  A,  etc.,  though 
the  direction  may  be  re- 
versed at  the  option  of 
the  leader.  After  march- 
ing around  the  room 
two  or  three  times  the  leading  couple,  followed 
Iby  the  others,  turn  at  1  and  march  down  the 
centre.  At  2  they  separate,  the  ladies  passing  to  the 
right  and  the  gentlemen  to  the  left.  At  1  the  two 
lines  pass  each  other,  the  gentlemen  marching  next 
to  the  wall.  At  2  they  again  pass.  At  1  the  leader 
and  his  partner  join  hands  and  march  down  the 


The  Bow 


XTbe  ^ran&  flRarc©  25 

centre,  followed  by  the  other  couples.  At  2  the 
leading  couple  turns  to  the  right,  the  next  couple  to 
the  left,  followed  alternately  by  the  other  couples. 
The  two  columns  meeting  at  1,  march  down  the 
centre  in  fours.  At  2  the  first  four  turns  to  the  right 
and  the  next  four  to  the  left.  Meeting  at  1,  march 
down  the  centre  eight  abreast.  At  2,  four  turn  to 
right  and  four  to  left.  At  1,  the  first  four  march 
down  the  centre  followed  by  the  next  four,  and  the 
other  fours  fall  in  line  alternately.  At  2,  one  couple 
turns  to  the  right  and  the  other  to  the  left.  Meeting 
at  1,  faAl  in  by  twos.  The  line  has  now  regained  its 
original  form,  and  the  plain  march  is  resumed. 

When  numbers  permit,  the  Hour-Glass  Figure  ia 
pretty  and  effective.  March  from  B  to  X  to  C  to  D 
to  X  to  A  to  B.  The  lines  must  be  perfectly  straight, 
jnd  the  angles  true  and  sharp.  If  there  be  not  a 
large  enough  number  to  outline  the  figure  when 
marching  two  abreast,  it  may  be  executed  in  single 
file,  each  gentleman  stepping  in  front  of  his  part- 
ner. 

The  Arbor  March  is  another  favorite.  March 
down  the  centre  and  separate  at  2,  the  ladies  passing 
to  the  right  and  the  gentlemen  to  the  left.  When 
the  leader  and  his  partner  meet  at  1  they  stop,  join 
hands  and  raise  their  arms,  thus  forming  an  arch. 
Under  this  arch  the  next  couple  passes,  and,  stand* 


26 


2)atic(ng 


ing  by  the  first  couple,  raise  their  arms  also.  This 
is  repeated  by  the  other  couples,  until  all  are  in  line. 
The  first  couple  then  lower  their  arms  and  pass 
under  the  arms  of  all  the  rest,  followed  by  the  other 
couples  in  turn,  until  the  arch  is  dissolved,  when  the 
plain  march  is  resumed. 

The  March  in  Columns  is  shown  by  the  following 
diagram.  The  line  is  supposed  to  have  marched 
from  D  to  A,  at  which  point  this  figure  begins. 

The  Serpentine  figure 
is  executed  in  single  file, 
each  gentleman  stepping 
in  front  of  his  partner. 
The  leader  then  marches 
around  in  as  large  a  circle 
as  the  line  will  form,  and 
continues  describing  a 
series  of  concentric  cir- 
cles, each  smaller  than 
the  last,  until  the  centre 
is  reached.  He  then  turns  sharply  in  the  opposite 
direction  and  retraces  his  way.  Those  in  line  must 
march  quite  close  together,  that  the  figure  may  be 
clearly  defined,  and  great  care  must  be  taken  to  keep 
the  coils  of  the  spiral  sufficiently  separated  to  permit 
those-  going  out  from  the  centre  to  pass  through. 
When  the  spiral  is  dissolved  and  all  are  in  line  again, 


A 
D 

B 
C 

ITbe  (5ran&  /Barcb  2? 

each  gentleman  steps  back  to  his  partner's  side  and 
the  march  is  resumed. 

When  the  leader  wishes  to  bring  the  march  to  an 
end,  he  signals  to  the  ^.rusicians  and  the  music 
changes'  ^o  a  waltz,  in  whicn  all  join. 


m 


SQUARE  DANCES 

Sqa^rc  dances  are  executed  by  sets  of  four  couples- 
Bftch  couple  occupying  one  side  of  a  square,  as  in  the 
following  diagram  ; 
These   couples   are  numbered,   according  to   po- 
sition, first,  second,  third 
and   fourth.      The   first 
and  second  couples  are 
also  designated  as  "  head 
couples  ;"  the  third  and 
fourth  as  "  sides."     The 
second   couple  stands 
facing  the   first  couple, 
the  third  couple  stands 
to  the  right  of  the  first, 

0  Lady    X  Gentleman  ^^^^  ^-^^  f^^j.^^^  f^^^g  ^j^^ 

third.  The  first  couple  faces  the  long  way  of  the 
hall  and  towards  the  music,  when,  as  is  usually 
the  case,  the  musicians  are  stationed  at  one  end 
of  the  room.  Under  other  circumstances  the  first 
couple  faces  towards  the  main  entrance  to  the  ball- 
28 


The  Ladies*  CnAtN 


to       *  I 


Sauare  Dances  31 

room,  In  private  houses  the  side  of  the  dancing 
room  nearest  the  street  is  generally  regarded  as  the 
head.     Each  lady  stands  at  her  partner's  right. 

The  Quadrille  consists  of  five  figures,  each  having 
its  appropriate  and  distinctive  music.  Quadrille 
music  is  divided  into  regular  periods  of  eight 
measures  each,  each  measure  containing  two  counts. 
Each  movement  of  the  dance  requires  eight  counts 
or  four  measures  of  music.  The  first  period  (eight 
measures)  of  each  figure  is  merely  introductory,  the 
dancing  of  the  figure  beginning  with  the  second 
period.  These  introductory  measures  in  the  first 
figure  are  occupied  by  the  salutations  with  which 
evety  square  dance  commences.  In  joining  hands 
the  gentleman  presents  his  hand  with  the  palm  up, 
and  the  lady  lays  her  hand  in  it,  palm  down. 

PLAIN  QUADRILLE 

CALLS  FOR  FIRST  FIGURE 

Salutations 8  measurea 

Head  Couples :  Right  and  Left 8 

Balance 8         *• 

Ladies'  Chain .8         •' 

Balance 8         •• 

This  figure  may  be  danced  twice  by  the  Head 
Couples  and  twice  by  the  Sides,  or  once  by  the  Heads 
and  once  by  the  Sides. 


32  ©ancfng 

EXPLANATION  OF  FIRST  FIGURE 

Salutations — Each  lady  slides  her  right  foot  to« 
wards  the  centre  of  the  set,  turning  at  the  same  time 
to  face  her  partner;  then  courtesies  with  the  left 
foot  behind  and  slides  back  to  place  with  left  foot, 
turning  her  back  to  her  partner  and  facing  the  gen- 
tleman at  her  right.  She  then  slides  her  right  foo^ 
outward  and  again  courtesies  with  her  left  foot  b» 
hind.  Each  gentleman  slides  left  foot  straight  for- 
ward and  turns  to  face  partner,  draws  right  foot  to 
third  position  and  bows ;  then  slides  back  to  place 
with  left  foot,  turning  his  back  to  his  partner  and 
facing  the  lady  at  his  left.  He  then  slides  his  right 
foot  outward,  draws  left  to  third  position  and  bows, 
and  slides  back  to  place  on  right  foot. 

Right  and  Left — Head  couples  cross  over,  each 
lady  passmg  between  the  opposite  couple.  ^  Each 
gentleman  touches  right  hands  with  the  opposite 
lady  in  passing,  then  takes  his  partner's  left  hand 
in  his  left  hand  and  turns  her  half  round,  so  that 
each  couple  stands  in  the  other's  original  position. 
This  occupies  four  measures.  Repeat,  ending  with 
both  couples  in  original  position.  When  but  half  of 
this  movement  is  executed,  ending  with  each  couple 
in  the  opposite  couple's  place,  it  is  called  Half  Right 
and  Left. 


square  ©ances  3S 

Balance — Ea^cli  gentleman  takes  his  partner's  lefi 
hand  in  his  left  and  her  right  hand  in  his  right, 
their  arms  being  crossed,  with  the  right  above  the 
left.  Slide  seven  steps  across  the  set  (seven  counts), 
and  halt  (one  count)  ;  then  slide  back  to  place. 
Turn  to  the  right,  in  passing  the  opposite  couple. 

Ladies'  Chain — Ladies  cross  over,  touching  right 
hands  in  passing  and  turning  opposite  gentlemen 
with  left  hands  ;  cross  back  to  place,  touching  right 
hands  in  passing,  and  turning  partners  with  left  hand. 

Balance — As  described  above. 

CALLS  FOR  SECOND  FIGURE 

"Wait 8  measureft 

Head  couples — Forward  Two 

Forward  and  Back      4  " 

Cross  Over 4  " 

Pass  Partners 4  " 

Cross  to  Places 4  " 

Balance 8 

Repeated  by  Head  Couples,  and  then  danced  rwiot 
by  Sides. 

EXPLANATION  OF  SECOND  FIGURE 

Forward  Two — This  call  includes  all  the  move- 
ments that  follow. 

Forward  and  Back — Each  irentleman  takes  h.U 
partner's  left  hand  in  his  right,  holding  it  a  liitiv^ 


34  Dancfttd 

forward  and  up.  Starting  with  the  right  foot,  walk 
forward  three  steps.  On  the  fourth  count  bring  the 
left  foot  up  back  ot  the  right,  without  transferring 
the  weight  to  it.  Starting  with  the  left,  walk  back- 
ward three  steps,  and  on  the  fourth  count  bring  the 
right  foot  back  to  third  position. 

Cross  Over — Walk  across  set,  each  lady  passing 
between  opposite  couples,  without  touching  hands  or 
turning  around. 

Pass  Partners. — Face  partners,  and  walk  four 
steps  forward  and  four  steps  back,  passing  your 
partner  on  your  right. 

Cross  to  Place. — As  described  above  in  "  Cross 
Over." 

Balance. — As  in  First  Figure. 

CALLS  FOR  THIRD  FIGURE 

Wait 8  meaaurea 

Head  Couples :  Right  Hands  Across      ...  4 

Left  Hands  Back 4 

Balance  in  Centre       4 

Half  Promenade  to  Opposite  Places  ....  4 

Two  Ladies  Forward  and  Back 4 

Two  Gentlemen  Forw^ard  and  Back  ....  4 

Forw^ard  Four  and  Back 4 

Half  Right  and  Left  to  Places 4 

Repeated  by  Head  Couples  and  then  danced  twice 
by  Sides. 


Square  Dances  35 

EXPLANATION  OF  THIRD  FIGURE 

Right  Hand  Across — Head  Couples  cross  over, 
3ach  lady  passing  between  the  opposite  couple  and 
touching  right  hands  with  opposite  gentleman  in 
passing.  Do  not  turn  partners,  but  simply  turn 
facing  the  centre  of  the  set. 

Left  Hand  Back — Returning,  each  lady  gives 
her  left  hand  to  the  opposite  gentleman's  left.  Still 
retaining  hold  of  hands,  as  soon  as  the  two  couples 
have  passed  each  other  all  turn  toward  the  centre 
and  each  lady  gives  her  right  hand  to  her  partner's 
right,  by  crossing  her  right  arm  over  her  left.  (The 
gentlemen's  arms  are  not  crossed.) 

Balance  in  Centre — All  balance  forward  and 
back  twice,  as  follows :  Step  forward  on  right  foot 
(count  one),  bring  left  foot  to  second  position  (count 
two),  step  back  on  left  foot  (count  three),  bring 
right  foot  to  second  position  (count  four),  and 
repeat.  It  is  better  to  take  the  steps  obliquely^  in- 
stead of  straight  forward  and  back. 

Half  Promenade  to  Opposite  Places — All  drop- 
ping left  hands,  walk  half  way  around  the  set,  each 
couple  stopping  in  the  place  originally  occupied  by 
the  other.  This  should  occupy  just  four  measures 
(eight  counts). 

Two  Ladies  Forward  and  Back;  Two  Gentle- 


36  Danclnd 

MEN    Forward    and    Back  ;    Forward    Four    and 
Back — As  described  in  Second  Figure. 

Half  Right  and  Left  to  Places — As  described 
in  First  Figure. 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measurea 

Head  Couples :  Forward  Four  and  Back     .  4 
ForTvard  Four,  First  Lady  Crosses  Over  .    .  4 

Forward  Three  and  Back 4 

Forward  Again,  Ladies  Cross  Over    ....  4 

Forw^ard  Three      4 

Forward  Again 4 

Four  Hands  Half  Around 4 

Half  Right  and  Left  to  Place 4 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 

EXPLANATION  OF  FOURTH  FIGURE 

Forward  Four  and  Back — As  described  in 
second  figure. 

Forward  Again — Forward  as  before,  and  the  first 
lady  joins  the  opposite  couple,  her  partner  retiring 
to  place  alone. 

Forward  Three  and  Back — Second  gentleman 
and  the  two  ladies  advance  and  retire,  the  first  gen- 
tleman remaining  in  his  place. 

Forward  Acain,  Ladies  Cross  Over — ThG  second 
gentleman  and  the  two  ladies  again  advance,  and 


Square  Dances  37 

the  first  gentleman  advances  to  meet  them.  Both 
ladies  cross  over  to  him  and  the  second  gentleman 
retires  alone  to  place. 

Forward  Three — The  first  gentleman  and  the 
two  ladies  forward  and  back,  the  second  gentleman 
remaining  in  his  place. 

Forward  Again — The  first  gentleman  and  the 
two  ladies  again  advance  (four  counts),  and  stop 
while  the  second  gentleman  advances  to  meet  them 
(four  counts). 

Four  Hands  Half  Around— The  four  join 
hands  and  walk  or  slide  around  to  the  left  until  each 
couple  arrives  at  the  opposite  couple's  place. 

Half  Right  and  Left  to  Places — As  described 
in  first  figure. 

CALLS  FOR  FIFTH  FIGURE 

Instead  of  the  usual  introductory  eight  measures 
of  music,  a  single  chord  is  generally  struck  as  a  sig- 
nal for  beginning. 

Hands  All  Round 8  measures 

Head  Couples.     Forward  Two 24         " 

Danced  four  times;  twice  by  Head  Couples  and 
twice  by  Sides.     After  this  the  quadrille  ends  with 

All— Chasses 


88  Dancing  • 

EXPLANATION  OF  FIFTH  FIGURE 

Hands  All  Round — All  join  hands  and  slide 
around  to  the  left  until  original  positions  are  again 
reached.  Or  slide  eight  steps  to  the  left,  and  then 
reverse  the  direction  of  the  movement  and  slide  eight 
steps  to  the  right,  thus  returning  to  original  position. 

Forward  Two — As  in  second  figure. 

All  Chassez — Face  partners ;  slide  to  the  right 
four  steps  and  return  ;  salute  partners  ;  the  gentle- 
man offers  his  arm  to  his  partner,  and  the  dance 
ends. 

It  is  very  rarely  that  all  the  figures  of  the  quadrille 
are  danced.  The  first,  second  and  fifth  are  generally 
called,  and  very  often  one  of  the  additional  figures 
described  later  is  substituted  for  one  of  these. 

WALTZ  QUADRILLES 

No.  1 

Waltz  Quadrilles  are  founded  upon  the  figures  of 
the  Plain  Quadrille.  The  change  from  Quadrille  to 
Waltz  music  is  indicated  by  several  preparatory 
chords  or  measures,  so  that  the  dancers  have  ample 
time  to  take  position  for  the  waltz.  Movements  not 
especially  described  in  this  dance  are  identical  with 
those  of  the  Plain  Quadrille, 


Square  Dances  39 

CALLS  FOR  FIRST  FIGURE 

Head  Couples :  Right  and  Left 8  measures 

All :    Waltz 16 

Head  Couples :   Ladies'  Chain 8  *• 

Ah :    Waltz 16 

Repeated  by  Side  Couples. 

EXPLANATION 

All  Waltz— The  four  couples  waltz  around  once, 
keeping  exactly  within  the  limits  of  the  space  occu- 
pied by  their  own  set.  The  movements  of  all  should 
be  so  timed  that  each  couple  will  remain  at  the  same 
relative  distance  from  the  others,  and  all  will  arrive 
in  original  places  at  exactly  the  end  of  sixteen 
measures  of  music.  It  is,  therefore,  imperative  that 
all  should  commence  the  waltz  with  the  first  note  of 
the  appropriate  music.     Avoid  taking  too  long  steps. 

CALLS  FOR  SECOND  FIGURE 

Head  Couples :    For-ward  Tw^o 16  measures 

All:   Waltz 16 

Repeated  by  Head  Couples  and  danced  twice  by 
Sides. 

EXPLANATION 

Forward  Two — This  includes  the  first  four  move- 
ments of  the  second  figure  of  the  Plain  Quadrille. 


40  Danctng 

CALLS  FOR  THIRD  FIGURE 

Head  Couples:    Forward  and  Back      .    .    .     4  measarei 

Forward  again.  Change  Partners 4         " 

All:    Waltz 16 

Repeated  by  Head  Couples  and  danced  twice  by 

Sides, 

EXPLANATION 

Change  Partners — Each  lady  crosses  to  oppositb 
gentleman. 

CALLS  FOR  FOURTH  FIGURE 

All :   Join  Hands,  Forward  and  Back     .    .     4  measures 

Turn  Partners  to  Places 4         •• 

All :   Waltz ...  16 

Danced  four  times.  • 

CALLS  FOR  FIFTH  FIGURE 

All :  Right  and  Left  Half  Round 8  measures 

All :  W^altz 16 

Head  Couples  :  Forward  Two 16         •• 

All :  Waltz  .    . 16         •• 

Repeated  by  Side  Couples. 
AH:  Salute 8 

EXPLANATION 

Right  and  Left  Round— All  face  partners.  Pass 
partners,  touching  right  hands  in  passing,  and  con- 
Unue  in  the  same  direction  around   the  set,  .giving 


Square  2)ancc0  41 

left  and  right  hands  alternately  to  those  whom  you 
meet.     Partners  are  thus  moving  in  opposite  direc- 
tions, and   will  consequently  meet  at  the  side  oppo- 
site from  their  original  positions,  where  they  stop. 
Forward  Two — As  in  second  figure. 

WALTZ  QUADRILLE  No.  2 

CALLS  FOR  FIRST  FIGURE 

Head  Couples :  Right  and  Left 8  measures 

Balance      8  " 

Ladies'  Chain 8         " 

All :  Waltz 16 

Repeated  by  Head  Couples  and  danced  twice  by 
Sides. 

CALLS  FOR  SECOND  FIGURE 

Head  Couples:  Forward  Two 16  measures 

All :  Waltz 16 

Repeated  by  Head  Couples  and  danced  twice  by 
Sides. 

CALLS  FOR  THIRD  FIGURE 

Head  Couples :  Right  Hands  Across  ...     4  measuiea 

Left  Hands  to  Centre 4  •• 

Balance  in  Centre 4  •* 

Half  Promenade  to  Opposite  Places  ...     4  ** 

All :  Waltz 16 

Repeated  by  Head  Couples  and  danced  twice  by 
Side?. 


42  Dancfnd 


CALLS  FOR  FOURTH  FIGURE 

Head  Couples  :  Balance  to  the  Right     .    .     4  measure! 

Exchange  Partners 4  " 

Ladies:  Grand  Chain 8  *' 

All :  Forward  and  Back 4  " 

Turn  nevr  partners  to  places 4  * 

AU :  Waltz 16 

The  repetition  of  this  figure  by  the  Head  Couples 
brinies  original  partners  together  again.  It  is  then 
danced  twice  by  the  Sides. 


EXPLANATION 

Ladies'  Grand  Chain — This  is  the  Ladies'  Chain 
executed  by  the  four  ladies  simultaneously.  They 
cross  right  arms  in  the  centre  of  the  set,  each  lady  tak- 
ing the  hand  of  the  opposite  lady,  and  walk  around  to 
opposite  gentleman.  Turn  opposite  gentleman  with 
left  hand,  and  return  to  place,  crossing  right  arms 
in  centre  as  before  and  turning  partner  with  left 
hand. 

Sometimes,  instead  of  the  Ladies'  Grand  Chain,  the 
•'  Ladies'  Chain  "  is  executed  by  the  first  and  third 
and  by  the  second  and  fourth  couples  simultane- 
ously. The  Grand  Chain  is  preferred  when  space  is 
limited. 


Square  HJances  43 

CALLS  FOR  FIFTH  FIGURE 

A.11 :  Right  and  Left  Half  Round 8  measoret 

Reverse  to  Places 8  •* 

Head  Couples :  Forward  and  Back  ....     4         *' 

For-ward  and  Salute 4  '* 

All  Ladies:  To  the  Right 8  " 

All :  Waltz 16 

Danced  twice  by  Head  Couples  and  twice  by  Sides, 
after  which  the  dance  ends  with 

All :  Right  and  Left  Half  Round 8  measurea 

Reverse  to  Places  and  Salute   .       ....  8  ** 

EXPLANATION 

Right  and  Left  Half  Round — As  in  the  Fi'fth 
Figure  of  Waltz  Quadrille  No.  1. 

Reverse  to  Places — When  partners  meet  at  the 
side  of  the  set  opposite  to  their  original  positions, 
they  salute,  join  right  hands  and  swing  half  round. 
This  brings  each  one  facing  in  the  opposite  direction 
from  that  in  which  he  has  been  moving.  Pass  part- 
ners and  walk  back  to  place,  giving  left  and  right 
hands  alternately  to  those  whom  j^ou  meet. 

All  Ladies  to  the  Right — Each  lady  balances 
to  the  gentleman  on  her  right,  taking  four  steps  to 
the  right  and  four  to  the  left,  and  turns  him  with 
both  hands.  In  the  last  movement  the  gentleman 
extends  both  hands,  palm  up,  and  the  lady  lays  hers 


44  H)anc!na 

in  them.  The  arms  are  held  a  few  inches  from  the 
sides,  but  not  lifted  high.  Turn  toward  the  left. 
The  fourth  time  this  figure  is  danced,  each  lady  is 
restored  to  her  own  partner. 

ADDITIONAL  QUADRILLE  FIGURES 

Some  one  of  the  following  figures  is  frequently 
substituted  for  the  second  or  fifth  figure  of  the  reg' 
ular  quadrille : 

CALLS  FOR  BASKET  FIGURE 

Head  Couples :  Forward  and  Back     ...  4  measure! 

Cross  over 4 

Pass  Partners 4 

Cross  to  Places 4 

Balance      8 

All  Ladies  :  Forward  and  Back 4 

Forward  and  join  hands       4 

All  Gentlemen  :  Hands  Around 8 

All :  Form  Basket Music  stops 

All :  Balance 4  measures 

Turn  Partners  to  Places 4 

Repeated  by  Head  Couples  and  danced  twice  by 
Sides. 

The  third  and  fourth  times  this  figure  is  danced, 
"  Forward  and  Back "  and  "  Forward  and  join 
Hands  "  is  executed  by  the  Gentlemen,  and  "  Hands 


Square  H)ance0  45 

A.round  "  by  the  Ladies,  the  ladies  being  on  the  out* 
side  wlien  the  basket  is  formed. 

A\  ith  tlie  exception  of  the  basket,  this  figure  is 
.identical  with  the  second  figure  of  the  Plain  Quad- 
rille. When  the  ladies  join  hands  in  the  centre,  they 
stand  close  together.  The  gentlemen  join  hands  and 
slide  sixteen  steps  to  the  left  (or  eight  steps  to  left 
and  then,  reversing  direction,  eight  steps  to  right), 
stopping  when  each  is  at  his  partner's  left.  The 
music  then  stops,  and  the  basket  is  formed  in  the 
following  manner  :  The  gentlemen  raise  their  arms 
and  bring  them  down  in  front  of  the  ladies,  who  step 
back  at  the  same  moment,  all  keeping  hold  of  hands. 
The  two  circles  are  thus  intertwined.  The  music 
then  begins  again,  and  the  dance  contines. 

CALLS  FOR  CHEAT  FIGURE 

First  Couple  :   Balance  to  Third  Couple 

and  turn    ...       8  measures 

Balance  to  Second  Couple  and  turn  ...  8 

Balance  to  Fourth  Couple  and  turn    .    .  8  " 

Balance  to  Partners  and  turn 8  " 

Repeated  by  the  second,  third,  and  fourth  couples 
in  turn,  each  balancing  to  the  couple  at  the  right 
and  continuing  thus  around  the  set. 

The  first  couple  turn  facing  the  right-hand  couple 
and  balance  by  taking  four  steps  forward  and  four 


46  H>anc(n0 

steps  back,  then  turn  with  both  hands,  and  pass  on 
to  the  next  couple. 

This  figure  derives  its  name  from  the  fact  that  just 
as  a  lady  and  gentleman  are  about  to  turn  each 
other  after  the  Balance,  either  may  suddenly  desert 
the  other  and  turn  alone  or  with  any  one  else  in  the 
set  whom  he  or  she  may  select.  A  great  deal  of 
good-natured  mischief  may  be  indulged  in,  to  which 
fact,  doubtless,  the  figure  owes  its  great  popularity. 

CALLS  FOR  MINUET  FIGURE 

Head  Couples :  Forward  and  Back    ....  4  measures 

Dos  a  Dos 4 

Sides  Four :  Forward  and  Back 4 

Forward  and  exchange  partners 4 

All :  Ladies'  Chain      8 

Sides  Four  :  Forward  and  Back 4 

Turn  Partners  to  Places 4 

Danced  twice  with  Head  Couples  leading  and 
twice  with  Sides  leading. 

EXPLANATION 

Dos  A  Dos — Head  Couples  forward  and  pass  each 
other ;  then  each  gentleman  and  opposite  lady  pass 
round  each  other  back  to  back,  without  turning 
round,  and  go  backward  to  places. 

Sides  Four — The  first  couple  jbins  the  third  and 


Square  Dances  47 

the  second  couple  joins  the  fourth,  thus  forming  two 
diagonal  lines  facing  each  other. 

Both  lines  forward  and  back ;  forward  and  turn 
opposite  partners,  with  gentlemen  exchanging  places 
with  each  other,  the  ladies  remaining  where  they 
were.  This  brings  each  gentleman  to  the  other  line, 
racing  his  own  partner. 

THE  SOCIABLE 

This  lively  figure  keeps  all  the  couples  in  motion 
and  calls  for  a  continual  change  of  partners.  Each 
time  the  ladies  balance  to  the  right  they  remain 
with  their  new  partners,  the  last  repetition  of  the 
movement  bringing  them  back  to  their  original 
partners. 

CALLS 

Head  Couples:  Right  and  Left 8  measures 

Side  Couples  :  Right  and  Left 8  " 

Ladies:  To  the  Right  (balance,  turn,  and 

change  partners) 8  •• 

All:  Promenade      8  •• 

Head  Couples :  Ladies'  Chain 8  •• 

Side  Couples:  Ladies' Chain 8 

Ladies  :  To  the  Right 8  " 

All :  Promenade         8  •' 

Head  Couples  :    Four  Hands  Round  to 

Left  and  Reverse 8  ** 


48  Dancing 

Side  Couples  :  Pour  Hands  Round  to  Left 

and  Reverse      8  measures 

Ladies  :  To  the  Right 8 

All:  Promenade      8 

Head   Couples:  Right  hands  across,  Half 

Round  and  Reverse      8  " 

Side  Couples  :   Right  hands  across,  Half 

Round  and  Reverse 8  " 

Ladies  :  To  the  Right 8  •• 

AH:  Promenade 8  " 

Danced  twice ;  after  which, 
All :  Chassez 8  •• 

EXPLANATION 

Four  Hands  Round  to  Left  and  Reverse — Two 
couples  join  hands  and  walk  or  slide  eight  steps  to 
the  left,  then  reverse  the  direction  and  take  eight 
steps  to  the  right,  thus  returning  to  place. 

Four  Hands  Across,  Half  Round  and  Reverse — 
Two  couples  cross  right  hands,  each  gentleman  tak- 
ing the  right  hand  of  the  gentleman  in  the  opposite 
couple  and  the  two  ladies  joining  hands,  the  gentle- 
men's hands  being  above  the  ladies.  In  this  position 
walk  eight  steps  around  to  the  left,  keeping  the  form 
of  a  cross.  Drop  right  hands,  turn  quickly,  cross  left 
hands  and  walk  back  to  place. 

Promenade — Partners  join  hands  and  walk  or 
slide  all  around  the  set,  passing  to  the  right. 


Square  Dances  49 

CALLS  FOR  JIG  FIGURE 

All :  Hands  Round 8  measures 

Ladies:  To  the  Right  (four  times)    .    .    .    .  32  " 

All :  Hands  Round 8 

Gentlemen  :  To  the  Right  (four  times)  .    .  32 

All :  Hands  Round 8 

Chassez 8         " 

EXPLANATION 

Ladies  to  the  Right — The  gentlemen  remain  in 
place,  and  each  lady  balances  and  turns  with  the 
gentleman  at  her  right,  and  so  continues  round  the 
set,  ending  by  balancing  and  turning  with  her  own 
partner. 

Gentlemen  to  the  Right — The  ladies  remain  in 
place,  and  the  gentlemen  balance  to  the  right,  as 
described  above,  turning  each  of  the  ladies  in  suc- 
cession. 

All  Hands  Round — All  join  hands  and  slide 
around  in  a  circle  until  original  position  is  reached. 

NINE-PIN  FIGURE 

This  figure  is  not  generally  introduced  into  the 
regular  quadrille,  but  is  danced  separately.  It 
requires  four  couples  and  one  extra  gentleman  who 
is  designated  as  the  Nine-Pin.  The  set  is  formed  in 
the  usual  way,  and  the  Nine-Pin  takes  his  place  in 
the  centre.     The  figures  are  entirely  optional  with 


50  Dancing 

the  leader.  It  is  best  to  select  those  which  require  all 
the  dancers,  or,  at  least,  one  from  each  couple ;  as, 
"All  Forward  and  Back,"  "  Ladies' Grand  Chain," 
"  Ladies  to  the  Centre,"  "  Gentlemen  to  the  Centre," 
*'  Grand  Right  and  Left,"  etc.  At  the  most  unex- 
pected moment,  usually  at  some  point  when  partners 
are  separated  from  each  other,  the  music  suddenly 
stops,  and  each  gentleman  makes  haste  to  secure  a 
partner.  But  the  Nine-Pin  is  also  watching  his 
opportunity,  and  if,  in  the  general  confusion,  he 
succeeds  in  securing  a  lady,  one  of  the  other  gentle- 
men is  left  without  a  partner,  and  is  forced  to  take 
the  place  of  the  Nine-Pin.  This  figure  is  repeated 
as  often  as  desired.  "  All  Chassez "  is  sometimes 
called  to  close  the  dance. 

CALLS  FOR  STAR  FIGURE 

Four  Ladies  :  Forvrard  and  Back 4  measures 

Four  Gentlemen :  For-ward  and  Back  ...  4  " 

Four  Ladies :  Cross  right  Hands,  half  turn 

to  the  left 4 

Turn,  Cross  Left  Hands,  back  again  ....  4  " 

Gentlemen  :  Right  Hands  to  Partners 

All:  Balance 4  " 

Tarn  Partners  to  places 4         •* 

EXPLANATION 
Ladies  Cross  Right  Hands,  half  turn  to  Left — 
Ladies  step  quickly   to   centre,   cross   right   hands 


Square  2)ancc0  51 

and  wheel  around  to  left  in  form  of  a  cross,  until 
each  reaches  the  opposite  side  of  set;  then  drop- 
ping right  hands,  turn,  cross  left  hands  and  wheel 
back  until  each  is  opposite  her  own  partner.  Just 
as  each  lady  wheels  into  this  position  she  extends 
her  right  hand  to  her  partner,  who  takes  it  in  his 
right.     This  forms  the  star. 

Balance — Retaining  the  form  of  the  star,  all 
balance  two  short  steps  to  the  right,  raising  right 
arms  slightly,  then  two  short  steps  to  left,  raising  left 
arms,  and  repeat. 

Turn  Partners  to  Places — All  drop  left  hands, 
and  turn  partners  to  place  with  right  hands. 

This  figure  is  danced  four  times.  The  third  and 
fourth  times  the  gentlemen  lead  and  cross  hands  in 
the  centre,  the  ladies  forming  the  outer  points  of 
the  star. 

THE  LANCERS 

CALLS  FOR  FIRST  FIGURE 

"Wait 8  measures 

Head  Couples :  Forward  and  Back    ....  4 

For-ward  and  turn  Opposite  Partners    ...  4  " 

Cross  Over 4  " 

Cross  Back  to  Places 4  " 

Balance  to  Corners 8  •• 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 


52  JB)ancing 

EXPLANATION  OF  FIRST  FIGURE 

Forward  and  Back — ^As  described  in  Seconr. 
Pigure  of  Plain  Quadrille  (eight  counts). 

Forward  and  Turn  Opposite  Partners— First 
and  second  couples  forward  again,  and  each  gentle- 
man turns  the  opposite  lady  with  both  hands.  Turn 
once  around,  and  then,  letting  go  of  hands,  step  back 
to  original  position  (eight  counts). 

Cross  Over — First  and  second  couples  cross  over, 
the  first  ccuple  joining  hands  and  the  second  couple 
separating  to  allow  the  first  couple  to  pass  between 
them.  Returning  to  place,  the  second  couple  join 
hands  and  the  first  couple  separate.  The  second 
time  this  figure  is  executed  the  second  couj^le  take 
the  lead,  passing  between  the  first  couple  in  "  Cross 
Over,"  and  separating  in  "  Cross  Back  to  Places."  The 
third  and  fourth  times  the  figure  is  danced  the  lead 
is  taken  by  the  third  and  fourth  couples  respectively. 

Balance  to  Corners — All  face  corner  partners, 
take  four  steps  forward  and  four  steps  backward,  and 
turn  corner  partner  once  around  with  both  hands, 
and  step  back  to  original  place. 

CALLS  FOR  SECOND  FIGURE 

"Wait 8  measures 

Head  Couples  :  For-w^ard  and  Back    ....  4 
Corward  and  leave  ladies  in  Centre  .   .   .   .  4r         ** 


Square  Dances  V. 

Chassez  right  and  left -    .        .4  measure* 

Turn  Partners  to  Places 4 

Side  Couples,  Separate,  joining  Head  Couples,  in  linB 
AH:  Forward  and  Back  in  Two  Lines  .  4  measures 
Forward  and  turn  Partners  to  Place  ....  4  " 

Danced  twice  by  Head  Couples  and  then  twice  by 
Sides. 

EXPLANATION  OF  SECOND  FIGURE 

Forward  and  Back — As  before  described. 

Forward  and  Leave  Ladies  in  the  Centre — 
Two  couples  forward,  ladies  remaining  in  the  cer.tre 
and  turning  to  face  partners  as  the  gentlemen  retire 
to  place.     Salute  partners. 

Chassez — Slide  four  steps  to  right  and  four  steps 
back  to  left. 

Turn  Partners  to  Places,  with  both  hands. 

Just  at  the  conclusion  of  this  movement  the  Side 
Couples  separate,  the  third  gentleman  and  fourth 
lady  joining  the  first  couple  and  the  fourth  gentle- 
man and  third  lady  joining  the  second  couple,  thus 
forming  two  lines  facing  each  other.  The  third  and 
fourth  times  this  figure  is  danced  the  Head  Coupley 
separate  and  join  the  Sides. 

Forward  and  back  in  two  lines. 

Forward  again  and  turn  partners  to  place  with 
both  hands. 


54  Bancfng 

CALLS  FOR  THIRD  FIGURE 

"Wait 8  measarea 

Head  Couples:  Forward  and  Back    ....  4 

Forward,  Salute,  and  Back 4  '• 

Ladies'  Chain 4         *' 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 
There  is  a  ritardando  and  hold  in  the  music  to  give 
time  for  the  "  Salute." 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measures 

Head  Couples :  To  the  Right  and  Salute     .  4         •• 

To  the  Left  and  Salute 4  •• 

To  Place  and  Salute  Partners 4         " 

Right  and  Left      8         " 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 

EXPLANATION  OF  FOURTH  FIGURE 

Head  Couples  walk  to  position  facing  the  Side 
Couples  at  the  right,  and  salute.  Continuing  in  the 
same  direction,  walk  around  the  set  and  face  the 
opposite  Side  Couples,  and  salute.  Continue  to 
place,  face  partners  and  salute.  Right  and  Left,  as 
described  in  the  Plain  Quadrille,  completes  the  figure. 

The  second  time  the  figure  is  danced  the  Head 
Couples  lead  first  to  the  Side  Couples  at  the  left,  and 
continue  in  this  direction  to  place.     The  third  time, 


square  Dances  55 

the  Side  Couples  lead  to  the  right,  and  the  fourth 
time  the  Side  Couples  lead  to  the  left. 

CALLS  FOR  FIFTH  FIGURE 

All :  Right  and  Left  all  Round 16  measuiea 

Fiist  Couple  :  Face  Outward      8 

All :  Chassez  Across 8  •• 

First  Couple  :  Down  the  Centre  and  Back     8  •• 

All :  Forward  and  Back 4  •• 

Forward  again  and  turn  Partners  to  Places     4  •' 

Danced  four  times,  each  couple  leading  in  turn, 
after  which 
All :  Right  and  Left  all  Round 16  measures 

EXPLANATION  OF  FIFTH  FIGURE 

Right  and  Left  all  Round — Partners  face  each 
other,  salute,  and  join  right  hands.  Pass  partners 
and  walk  around  the  set,  continuing  to  move  in  the 
same  direction^  and  giving  left  and  right  hands 
alternately  to  those  whom  you  meet.  Partners  mov- 
ing thus  in  opposite  directions  will  meet  at  the  side 
of  the  set  opposite  to  their  original  positions.  Here 
they  pause  to  salute,  then  give  "ight  hands  and  con- 
tinue as  before  until  all  have  returned  to  origi< 
nal  places. 

Face  Outward — First  Couple  join  hands  and 
walk  or  Polka  entirely  around  the  inside  of  the  setj 


56  Bancins 

ending  in  original  place,  but  facing  outward  with 
their  backs  to  the  second  couple.  The  Third  Couple 
now  fall  in  line  back  of  the  first  and  the  Fourth  back 
of  the  third.  This  brings  all  four  couples  into  line, 
all  facing  the  same  way. 

All  Chassez — The  gentlemen  slide  four  steps  to 
the  right  and  the  ladies  four  steps  to  the  left,  the 
gentlemen  passing  behind  their  partners.  Then 
reverse,  the  gentlemen  sliding  to  the  left  and  th- 
ladies  to  the  right.  At  the  conclusion  of  this  move- 
ment the  ladies  and  the  gentlemen  each  take  a  step 
away  from  each  other,  and  turn  facing  partners. 
This  brings  the  four  ladies  in  line  facing  the  four 
gentlemen  in  line. 

Down  the  Centre  and  Back — First  couple  join 
hands  and  walk  or  slide  down  between  the  lines  and 
back  to  place. 

All  Forward  and  Back,  in  two  lines  and  then 
turn  to  place. 

The  Fifth  Figure  of  the  Saratoga  Lancers  is  often 
substituted  for  the  Fifth  Figure  of  the  Plain  Lancers. 

WALTZ  LANCERS 

The  Figures  of  the  Waltz  Lancers  correspond  to 
those  of  the  Plain  Lancers,  but  are  somewhat  abbre- 
viated to  admit  of  the  introduction  of  the  Walta 


Square  Baitcca  67 

movement..  No  special  explanation  will  be  given  of 
movements  already  described,  as  they  will  be  readily 
understood  by  referring  to  the  corresponding  figure 
of  the  Plain  Lancers. 

CALLS  FOR  FIRST  FIGURE 

Wait 8  measurea 

riead  Couples :  Forward  and  Back  ....    4  '• 

Forward  and  turn  Opposite  Partner   ...     4  " 

Cross  Over,  First  Couple  Inside 4  *• 

Return  to  Place,  Second  couple  Inside    .     4  •• 

Waltz      .16 

All :  Balance  Corners  and  turn  to  Place    .    8  •* 

Repeated  by  Side  Couples. 

CALLS  FOR  SECOND  FIGURE 

Wait 8  measures 

Head  Couples :  Forward  and  Back     ...  4  •• 
Forward,  leaving  ladies  in  Centre    ....  4  ** 
Chassez  and  turn  Partners  to  Place    ...  8          •• 
All :  Ladies  balance  to  right,  turn  and  re- 
main with  new  partners •  .  8  '* 

"Waltz 16 

Danced  twice  by  Head  Couples  and  twice  by  Sides, 

CALLS  FOR  THIRD  FIGURE 

"Wait 8  measurea 

Head  Couples :  Forward  and  Back      ...  4  ** 

Forward  and  Salute 4  " 


58  2>ancin(;i 

"Waltz 16  measures 

Ladies'  Chain      8 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 


CALLS  FOR  FOURTH  FIGURE 

"Wait 8  measures 

Head  Couples :  To  the  Right  and  Salute    4 

To  the  Left  and  Salute 4 

Waltz      16 

Right  and  Left  Across       8         " 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 

CALLS  FOR  FIFTH  FIGURE 

All:  Right  and  Left  all  Round 16  measures 

First  Couple  :  W^altz 8 

March 8  •• 

All :  Forward  and  Back .     4         •• 

Forward  and  turn  Partners  to  Place   ...     4         •• 

Danced  twice  by  Head  Couples  and  twice  by  Sides, 
each  couple  taking  the  lead  in  turn,  after  which 

Right  and  Left  All  Round 16  measures 

After  waltzing  around,  the  leading  couple  prom- 
enade up  and  down  the  set.  All  then  join  hands 
and  go  forward  and  back  (eight  counts),  forward 
again  (four  counts),  and  turn  partners  to  place  (four 
counts). 


Sauare  Dances  59 


SARATOGA  LANCERS 

CALLS  FOR  FIRST  FIGURE 

Wait 8  measareB 

Head  Couples  with     |  poi  ward  and  Back  4  " 

Right  Hand  Couples: ) 

Forward  and  Turn  Opposite  Partners     .    .  4  •• 

Cross  Over 4  •* 

Back  to  Places 4  •• 

Balance  to  Corners 8  *• 

Head  Couples  with   1  ^he  Same 24         •• 

I>eft  Hand  Couples  :  i 

Danced  entirely  through  twice. 

This  figure  corresponds  to  the  first  figure  of  tho 
regular  Lancers,  except  that  the  Head  Couples  exe- 
cute the  movements  in  connection  with  the  right  and 
left  Side  Couples   alternately,  instead  of  with  each 

other. 

CALLS  FOR  SECOND  FIGURE 

■^ait  3  measures 

All:  Forward  and  Back,  hands  joined    .    .  4 
Forward,  Ladies  remaining  in  Centre  and 

joining  hands      ...» 4  •• 

Pour   Gentlemen :    Hands  All   Round   to 

Place 8 

All :  Form  Basket ;  All  Round  to  Place    .  8 

Forward  and  Back,  Hands  joined     ...  4 

Forward,  Gentlemen  remaining  in  Centre  4  •• 

Pour  Ladies :  Hands  All  Round  to  Place  8 
All :  Form  Basket,  All  Round  to  Place      .8 

Danced  twice.  For  description  of  the  Basket  see 
"  Basket  Figure,"  Page  44. 


60  2)ancfnd 

CALLS  FOR  THIRD  FIGURE 

Wait 8  measuxet 

All:  Forward  and  Back,  Hands  joined      .4 

Porw^ard  and  Salute 4 

Four  Ladies  :  Ladies'  Grand  Chain,  cross- 
ing right  hands  in  the  Centre      ....  8          *• 
All :  Forward  and  Back,  Hands  joined  .    .  4          " 

Forw^ard  and  Salute 4          '• 

Four  Gentlemen :    Ladies'    Grand   Chain, 

crossing  left  hands  in  centre 8          ** 

Danced  twice. 

For  description  of  Ladies'  Grand  Chain,  see  Fourth 
Figure  of  Waltz  Quadrille  No.  2,  Page  42. 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measui  .« 

Head  Couples:  To  the  Right  and  Salute 

Right  Side  Couples 4         *• 

To  the  left  Side  Couple  and  Salute,  tak-  1 
ing  lady  of  right  Side  Couple  and  ! 
leaving  her  with  gentleman  of  left 

Side  Couple 

Turn  Partners  to  Places    ..»..•    ....    4 

Right  and  Left 8 

To  Left  Side  Couple  and  Salute 4 

To  Right   Side   Couple  and   Salute,  re- 
turning  Ladies  in  Side  Couples  to 

their    partners     .....        

Turn  Partners  to  Places ".     4 

Right  and  Left 8 

Repeated  by  Side  Couples. 


Square  Dances  63 

CALLS  FOR  FIFTH  FIGURE 

A.U  :  Right  and  Left  Half  Round,  Salute  .    8  measurea 
Swing   Partners  Half  Round,  Right  and 

Left  to  Places 8         •• 

First  Couple  :  Join  hands  and  face  out-  1 

ward  ;    Third,   Fourth  and   Second  I    8  •• 

Couples  fall  in  column  behind  First  J 

All :  Chassez  Across 8         • 

March    around,   Single    file,   Ladies  to 

Right,  Gentlemen  to  Left,  and  form    •    8         *' 

two  lines  facing  each  other    .... 

Forward  and  Back 4 

Forward  and  turn  Partners  to  Place    .       .     4  " 

Danced  four  times,  each   couple  leading  in   turn 
Finish  with  Right  and  Left,  or  Hands  all  Round. 

THE  CALEDONIANS 

CALLS  FOR  FIRST  FIGURE 

Wait     8  measarec 

Head    Couples:    Cross    Right    hands    half 

round 4  '* 

Left  hands  back 4  * 

Balance  to  partners  and  turn 8  *' 

Ladies'  Chain 8  " 

Half  Promenade 4  *• 

Half  Right  and  Left 4 

Danced  twice  by  Head  Couples  and  twice  by  Sidee. 


64  Dancfna 

EXPLANATION  OF  FIRST  FIGURE 

Head  Couples  Cross  Right  Hands,  etc. — Head 
couples  advance  and  cross  right  hands,  the  two 
gentlemen  joining  hands  above  the  ladies'  hands. 
All  take  eight-  steps  to  the  left,  thus  arriving  at 
opposite  sides  of  the  set.  Drop  right  hands,  turn, 
cross  left  hands  and  take  eight  steps  back  to 
place. 

Balance  to  Partners — Partners  face  each  other, 
take  four  steps  to  right  and  four  steps  to  left,  and 
turn  with  both  hands. 

Ladies'  Chain — As  in  Plain  Quadrille.     Pag^e  29. 

Half  Promenade — Partners  join  hands  and  cross 
to  opposite  side  of  set,  turning  to  right  in  passing 
the  opposite  couple. 

Half  Right  and  Left — As  described  in  Plain 
Quadrille.     Page  34. 

CALLS  FOR  SECOND  FIGURE 

Wait 8  measaies 

Head  Couples  :  Forward  and  Back   ....  4       '* 

Forward  and  Salute 4       ** 

All  Ladies :  Balance  to  the  Right 8       '< 

All :  Promenade 8 

Danced  twice  by  Head  Couples  and  twice  hj 
Sides, 


square  2)aucc0  65 

EXPLANATION  OF  SECOND  FIGURE 

All  Ladies  Balance  to  the  Right — Each  lady 
turns  to  the  gentleman  at  her  right  and  balances, 
taking  four  steps  to  right  and  four  to  left.  They 
then  join  hands  and  turn,  the  ladies  remaining 
with  their  new  partners.  The  fourth  time  the 
figure  is  danced  each  lady  is  restored  to  her  original 
partner. 

All  Promenade — The  four  couples  then  prom- 
enade all  around  the  set 

CALLS  FOR  THIRD  FIGURE 

Wait c   .   .  8  measures 

Head  Couples  :  Forward  and  Back    ....  4 

Forward  and  Dos-a-Dos 4 

Cross  over,  First  Couple  inside 4 

Back  to  Place,  Second  Couple  inside  ...  4 

Balance  to  Corners 8 

All:  Forward  to  Centre 4 

Forward  and  turn  Partners 4 

Danced  twice  by  Head  Couples  and  twice  by 
Hides.  The  second  time  the  figure  is  danced,  in 
'*  Cross  Over,"  the  second  couple  passes  between  the 
first,  and  in  "  Back  to  Place  "  the  first  couple  passes 
inside.  The  third  time  the  third  couple  leads,  and 
the  fourth  time  the  fourth  coupi^i. 


66  Bancfti^ 

SXPJ^NATION 

Dos-A-Dos — Head  Couples  advance,  and  each  gen- 
tleman and  opposite  lady  pass  around  each  othet 
back  to  back,  and  retire  to  place  without  turning 
around. 

All  Forward  to  Centre — All  join  hands,  thua 
forming  a  circle,  and  take  four  steps  toward  centre 
and  four  steps  back  to  place.  Forward  four  steps 
again  and  turn  partners  to  places. 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measurei 

Head  Couples :  Forward  and  Back  .   .    . 
Forward   and  Turn  Partners  to  Place    . 

Four  Ladies :   To  the  Right 

Four  Gentlemen  :    To  the  Left 

Four  Ladies :    To  the  Right 

Four  Gentlemen  :    To  the  Left 

All :  Promenade  ...  8        •• 

Danced  twice  by   Head   Couples  a»d   twice  by 

Sides. 

EXPLANATION 

Four  Ladies  to  the  Right,  etc, — Each  lady  ad- 
vances to  the  gentleman  at  her  right,  turns  with 
him,  and  assumes  his  former  partner's  place.  Each 
gentleman  then  advances  to  the  lady  at  his  left, 
turns  with  her  and  assumes  her  partner's  place. 
This  movement  repeated  by  both  ladies  and  gentle- 


Square  2)anced  67 

men,  brings  original  partners  together,  but  at  the 
elide  of  the  set  opposite  to  their  original  position. 
All  then  promenade  entirely  around  the  set.  Th<! 
second  and  fourth  times  the  figure  is  danced  each 
couple  will  end  in  original  place. 

CALLS  FOR  FIFTH  FIGURE 

Wait 8  measure« 

Head  Couple :  Promenade  ...           ....  8  " 

Four  Ladies:   Forward  and  Back 4 

Four  Gentlemen :  Forward  and  Back    ...  4  •• 

AH:    Balance   to  Partners  and  Turn     .    .    .8  " 

Right  and  Left  Half  Round 8  •• 

Half  Promenade  to  Places  and  Turn  Part- 
ners     8  " 

Chassez  Across  and  Turn  at  Corners   ...  8  *' 

Danced  four  times,  each  couple  in  turn  leading 
with  the  promenade. 

EXPLANATION 

First  Couple  Promenade — First  couple  join 
hands,  crossed,  and  promenade  entirely  around  the 
inside  of  the  set. 

All  Chassez  Across  and  Turn  at  Corners — 
uentlemen  take  four  steps  to  the  right,  the  ladies 
four  steps  to  the  left,  and  turn  corner  partners  with 
right  hand.  Then  take  four  steps  to  meet  partnera, 
and  turn  partners  to  place  with  left  hand. 


6S  B>ancfn(| 


THE  WALTZ  CALEDONIANS 

CALLS  FOR  FIRST  FIGURE 

Cntrodaction 8  measaret 

Head  Couples :   Right  Hands  Across         .    4        " 

Left  Hands  Back  to  Place 4        ** 

Balance  and  Turn  Partners 8        '• 

All:  Waltz 16 

Danced  twice  by  Head  Couples  and  twice  by 
8ides. 

CALLS  FOR  SECOND  FIGURE 

Introduction 8  measures 

Head  Couples :   Forward  and  Back     ...     4        " 

Forward  and  Salute 4        •• 

All :  Ladies  to  the  Right  (remaining  with 

new  partners) 8        •* 

All:  Waltz 16 

Danced  twice  by   Head  Couples  and  twice  by 
Sides. 

CALLS  FOR  THIRD  FIGURE 

Introduction 8  measure& 

Head  Couples :    Fotw^ard  and  Back   ....  4 

Forward  and  Dos-a-Dos 4         '• 

All :   Balance  at  Corners  (exchanging  part- 
ners)         ....  8        •• 

Waltz 16 

Danced  twice  by  Head   Couples  and  twice  by 
Sides. 


Square  S)ance0  69 


CALLS  FOR  FOURTH  FIGURE 

Introduction 8  measures 

Head  Couples:    Forward  and  Back.    .    .  4 

Forward  and  Turn  Partners  to  Place  ...  4        •' 

All :  Ladies  to  the  Right 4 

Gentlemen  to  the  Left 4        " 

Ladies  to  the  Right .  4        " 

Oentlemen  to  the  Left 4        ** 

"Walt* 16 


CALLS  FOR  FIFTH  FIGURE 

Introduction          8  measuret 

All:  Hands  All  Round 8  '• 

Ladies  Forward  and  Back 4  •* 

Gentlemen  Forw^ard  and  Back 4  •• 

Balance'  to  Partners 8  " 

AU  Waltz 16 


THE  CALLY  POLKA  QUADRILLE 

This  dance  is  the  most  elaborate  of  its  kind,  in- 
troducing the  Polka,  Polka  Redowa,  Heel  and  Toe, 
Polka  and  Three .  Side  Polka  steps.  No  attempt 
should  be  made  to  learn  this  Quadrille  until  the 
above-mentioned  round  dances  are  thoroughly  mas« 


70  2>anctnfl 

CALLS  FOR  FIRST  FIGURE 

Introduction:  Salutations  to  Partners 

and  Corners       8  measures 

Head  Couples:  Half  Right  and  Left ....  4 

Side  Couples:  Half  Right  and  Left.   .    .    .4  *' 

AH:   Balance   to   Partners 8  " 

Head  Couples :  Half  Ladies'  Chain  ....  4  " 

Side  Couples :  Half  Ladies'  Chain 4  ** 

All:   Polka 8  - 

Danced  twice  through. 

EXPLANATION  OF  FIRST  FIGURE 

Half  Right  and  Left — Partners  join  hands  and 
walk  two  steps  forward.  Then  unclasp  hands  and 
continue  with  Polka  step,  each  lady  passing  between 
the  opposite  couple.  When  the  two  couples  have 
passed  each  other,  each  gentleman  takes  his  partner's 
left  hand  in  his  left,  and  they  continue  with  Polka 
step,  turn,  and  stop  in  the  opposite  couple's  place. 
Here  they  remain  until  the  repetition  of  the  figure 
brings  them  back  to  place. 

Balance  with  Partners — Partners  face  each 
other  and  join  hands,  extending  the  arms  a  little 
toward  the  side.  They  then  dance  the  Heel  and 
Toe  Polka  to  the  centre  of  the  set  and  back  again 
(four  measures),  and  then  dance  the  Plain  Polka  in 
%  very  small  circle  around  their  position  in  the  se^ 
^four  measures). 


Square  Dancec  71 

Half  Ladies'  Chain — Two  ladies  croes  over, 
using  Plain  Polka  step  and  joining  right  hands  in 
passing.  Each  gentleman  advances  to  meet  the 
opposite  lady  as  she  polkas  toward  him,  and,  taking 
her  left  hand  in  his  left,  turns  her  to  his  partner's 
place.  The  repetition  of  the  figure  returns  each  lady 
to  her  own  partner. 

All  Polka — All  dance  the  Three-Slide  Polka 
once  around  the  set. 

CALLS  FOR  SECOND  FIGURE 

"Wait 8  measures 

Head  Couples:  Forward  and  Back  ....  4 

Cross  Over 4 

Forward  and  Back 4 

Cross  to  Places 4 

All :  Polka 8 

Danced  twice  by  Head  Couples  and  twice  by 
Sides. 

EXPLANATION 

Forward  and  Back — Partners  join  hands  and 
walk  four  steps  to  centre.  Then  face  and  dance  the 
Three-Slide  Polka,  once,  back  to  place. 

Cross  Over — Head  Couples  pass  each  other  (four 
steps),  each  lady  passing  between  opposite  couple. 
Partners  then  face  each  other  and  dance  Three-Slide 
Polka,  once,  to  opposite  couple's  place. 


72  Dancfng 

The  repetition  of  these  two  movements  brings 
each  couple  back  to  original  position,  after  which  all 
dance  the  Three-Slide  Polka  around  the  set  once. 

CALLS  FOR  THIRD  FIGURE  • 

W^ait 8  measurea 

Head  Couples,  with  Sides:  Forward  and 

Back 4  " 

Forw^ard  and  Change  Partners 4  " 

All  Chassez     .    .    .    .    , 2  •• 

All  Cross  Over 2  •• 

All  Chassez 2  •• 

All  Cross  to  Places 2  •• 

All :  Ladies  Forward 4  " 

Gentlemen  Forw^ard 4  •• 

Polka  in  Circle 8 

This  figure  is  danced  four  times.  The  first  and 
third  times  the  Head  Couples  dance  with  the  Side 
Couples  at  their  right,  and  the  second  and  fourth 
times  with  the  Side  Couples  at  their  left.  After  the 
exchange  of  partners  at  the  commencement  of  the 
figure  the  gentlemen  do  not  regain  their  partners 
until  the  fourth  time  the  figure  is  danced.  In  the 
following  explanations  the  terms  "  First  Couple," 
"  Second  Couple,"  etc.,  refer  to  positions  in  the  set, 
and  not  to  the  individual  dancers.  It  is  essential  to 
bear  this  in  mind,  as  owing  to  the  frequent  chansje 
of  partners  each  dancer  makes  an  entire  tour  of  the 
set  in  the  course  of  the  figure. 


Square  Dances  73 

EXPLANATION 

The  First  Couple  faces  the  Third  and  the  Second 
Couple  faces  the  Fourth.  All  forward  and  back, 
using  Three-Slide  Polka,  as  directed  in  Second 
Figure.  Forward  again,  and  each  gentleman  pre- 
sents both  hands  to  opposite  lady  and  turns  with 
her,  taking  her  partner's  place.  The  gentlemen 
have  now  exchanged  partners,  and  the  rest  of  the 
figure  is  executed  with  their  new  partners.  The 
fourth  time  the  figure  is  repeated  each  gentleman 
has  his  original  partner  again. 

All  Chassez — The  Side  Couples  chassez  to  the 
right  and  the  Head  Couples  to  the  left,  using  the 
Three-Slide  Polka,  thus  exchanging  places. 

All  Cross  Over — All  the  couples  walk  forward 
four  steps,  the  Heads  going  to  the  right  and  the 
Sides  to  the  left.  Opposite  couples  pass  each  other 
and  stop  back  to  back. 

All  Chassez — All  using  Three-Slide  Polka,  chas- 
sez and  change  places.  This  brings  each  gentleman 
back  to  his  original  position,  though  he  still  has  the 
partner  whom  he  secured  by  the  exchange  at  the 
commencement  of  the  figure. 

All  Cross  to  Places — Heads  to  the  right  and 
Sides  to  the  left,  cross  over,  each  lady  passing 
between  opposite  couple,  and  stop  in  opposite 
couple's  place.     Use  Three-Slide  Polka. 


74  Bancfnfl 

Ladies  Forward — All  the  ladies  forward,  courtcex 
and  join  hands  in  centre  of  set.  All  the  gentlemen 
forward  and  form  circle  outside  that  Ibrmed  by  the 
ladies,  and  phice  their  joined  hands  over  the  ladies 
in  front,  thus  forming  a  basket. 

Polka  in  Circle — Retaining  the  position  just 
described,  all  dance  Three-Slide  Polka  to  the  left 
(two  measures),  to  the  right  (two  measures),  and 
again  to  the  left  (two  measures).  The  circles  then 
dissolve  and  partners  join  hands  and  return  to 
place  (two  measures). 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measuref 

Forward,  Right  Hands  Across 4  " 

Left  Hands  Back 4  - 

Balance  and  Cross 8  •* 

Ttvo  Ladies  Forward  and  Back 4  " 

Two  Gentlemen  Forw^ard  and  Back  ....  4  " 

Four  Forw^ard  and  Back 4  •* 

Return  to  Places 4  •• 

All  Round  with  the  Yorke 8  •• 

Danced  four  times. 

EXPLANATION 
Forward,  Right  Hands   Across — ^The  first  lady 
and  opposite  gentleman  cross  over,  touching  right 
hands  in  passing,  and  turn  opposite  lady  and  gep^tle- 
man,  respectively. 


Square  Dancea  *jt 

Left  Hands  Back — ^Returning,  they  join  left 
hands,  pass  each  other  and  halt,  at  the  same  time 
joining  right  hands  with  partners.  This  forms  a 
zig-zag  line  across  the  set,  partners  facing  each 
other. 

Balance  and  Cross — Retaining  the  position  just 
described,  with  the  hands  w^ell  raised,  balance  for- 
ward with  the  right  foot  and  backward  with  the  left, 
using  Polka  Redowa  step  (four  measures).  Then 
swing  around  in  line  and  separate,  each  couple  tak- 
ing opposite  couple's  place. 

The  execution  of  the  other  movements  of  the 
figure,  which  have  been  explained  and  are  very  sim- 
ple, brings  each  couple  back  to  place,  after  which 
all  dance  the  Yorke  once  around  the  set. 

The  second  time  the  figure  is  danced,  the  first  two 
inovements  are  executed  by  the  second  lady  and 
first  gentleman ;  the  third  time,  by  the  third  lady 
and  fourth  gentleman ;  the  fourth  time,  by  the 
fourth  lady  and  third  gentleman. 

CALLS  FOR  FIFTH  FIGURE 

Introductory  Chord. 

AH  :  Chassez 2  measures 

Change  Places 2       #' 

These  movements  are  executed  four  times,  which 
brings  all  couples  back  to  original  places. 


76  Dancing 

Head  Couples  :  Forward 2  measures 

Circle   Round 2  " 

Separate  and  Join  Sides 4  " 

All :  Slide  to  the  Right 2 

Slide  to  the  Left 2 

Forward 2  " 

Join   Partners 2  " 

Danced  four  times. 

EXPLANATION 

Chassez,  Change  Places — Ladies  to  the  left ;  gen- 
tlemen to  the  right.  Each  lady  meets  a  gentleman 
at  the  corner  of  the  set.  They  join  hands  and  turn 
half  round  to  the  left,  exchanging  places.  When  this 
has  been  done  four  times  each  dancer  will  be  in 
original  position,  having  made  a  complete  circuit  of 
the  set. 

Heads  Forward,  Circle  Round — Heads  forward, 
join  hands,  and  circle  round  with  Three-Slide  Polka 
step. 

Separate  and  Join  Sides — Partners  separate  and 
join  the  sides,  thus  forming  two  lines  facing  each 
other.  Each  lady  joins  the  couple  to  the  left  and 
each  gentleman  the  couple  to  the  right  of  original 
position. 

Slide  to  the  Right,  Slide  to  the  Left — The 
two  lines  dance  Three-Slide  Polka  to  the  right  (two 
measures),  then  to  the  left  (two  measures). 


Square  Dancea  77 

Forward,  Join  Partners — All  forward  and  turn 
partners,  the  First  and  Second  Couples  exchanging 
places  while  the  third  and  fourth  return  to  original 
position. 

The  entire  figure  is  then  repeated,  which  brings 
all  to  original  positions.  It  is  then  danced  twice 
with  the  Side  Couples,  instead  of  the  Heads,  leading. 

FINALE 

All  forward  to  centre  and  salute  each  other.  Re- 
turn to  place  and  salute  partners.  The  music  for 
these  movements  is  played  slowly.  Then  a  prepara- 
tojfy  chord  is  given  and  all  polka  to  seats. 


PRINCE  IMPERIAL  QUADRILLE 

CALLS  FOR  FIRST  FIGURE 

Wait 8  measares 

Head  Couples:  To  the  Right  and  Salute  .  4  •• 

Conduct  Side  Ladies  to  Opposite  Places  .  4  ** 

Ladies  :  Grand  Chain 8  ** 

All:  Chassez  to  Right  and  Left 4  ** 

Turn  Partners.  Head  Couples  at  opposite 

places 4  " 

Repeated  by  Head  Couples  and  danced  twice  by 
Sides. 


78  S)ancln(3 

EXPLANATION 

Head  Couples  to  the  Right  and  Salute — The 
First  Couple  stops  facing  the  Third,  and  the  Second 
Couple  stops  facing  the  Fourth.     All  Salute. 

Conduct  Side  Ladies  to  Opposite  Places — Re- 
taining his  partner's  hand  in  his  right  hand,  the  first 
gentleman  takes  the  third  lady's  right  hand  in  his 
left  and  conducts  the  two  ladies  to  the  Second 
Couple's  place.  In  the  same  way  the  second  gentle- 
man leads  his  partner  and  the  fourth  lady  to  the 
First  Couple's  place. 

Ladies'  Grand  Chain — The  four  ladies  then  cross 
from  head  to  head  of  the  set,  touching  right  hands 
in  passing.  They  then  cross  from  side  to  side  of  the 
set,  touching  left  hands.  These  two  movements  are 
repeated,  ending  with  each  lady  standing  in  front  of 
and  facing  her  partner. 

All  Chassez — All  take  four  steps  to  the  right  and 
four  to  the  left,  and  then  turn  partners.  This  leaves 
the  First  Couple  in  the  Second  Couple's  place  and 
the  Second  Couple  in  the  First  Couple's  place.  The 
repetition  of  the  figure  restores  hoth  couples  to 
original  positions.  The  figure  is  then  danced  twice 
with  Side  Couples  leading. 


Square  Dances  79 

CALLS  FOR  SECOND  FIGURE 

77ait ...  8  measaieA 

First  Gentleman  and  Second  Lady  :  For- 
ward      2  " 

Turn  with  both    hands    and   face    First 

Lady 2  •• 

Cross  over  and  turn  with  Left  Hand  ...  4  •• 

Head  Couples :  Forward  and  Back  ....  4  •• 

Half  Ladies'  Chain 4  " 

All :  Chassez  and  turn  Corners  with  Right 

Hands 4  " 

Turn  Partners  to  places  with  Left  Hands  4  •• 

This  figure  is  danced  four  times ;  the  second  time 
the  second  gentleman  and  first  hidy  lead ;  the  third 
time  the  third  gentleman  and  fourth  lady,  and  the 
fourth  time  the  fourth  gentleman  and  third  lady. 

EXPLANATION 

First  Gentleman  and  Second  Lady  Forward — 
Meeting  in  the  centre  of  the  set,  they  turn  with  both 
hands  and  stop  facing  the  first  lady. 

Cross  Over — The  first  lady  passes  between  the 
couple  in  front  of  her,  and  crossing  the  set,  turns  the 
second  gentleman  with  left  hand.  At  the  same  time 
^he  first  gentleman  and  second  lady  turn  each  other, 
with  left  hand,  in  the  First  Couple's  place. 

Head  Couples  Forward  and  Back — Head  Couplea 
walk  four  steps  forward  and  four  steps  back  to  place. 


80  S>ancfn0 

Half  Ladies'  Chain — The  first  and  second  ladiei 
cross  over,  touching  right  hands  in  passing,  and  turn 
partners  to  place  with  left  hand. 

All  Chassez  and  Turn  Corners — All  take  four 
steps  to  right  and  turn  corner  partners  with  right 
hand. 

Turn  Partners  to  Places— All  take  four  steps 
back  to  place  and  turn  partners  with  left  hand. 

CALLS  FOR  THIRD  FIGURE 

Wait 8  zneaaarM 

First  Couple :  Forward        2         *• 

Gentleman  retires  to  place,  leaving  lady  in 

centre  of  set,  facing  him      2         ** 

Second  Couple  :  The  same 

Third  Couple :  The  same 

Fourth  Couple :  The  same 

Ladies :  Hands  Around 

Gentlemen  :  Forward  and  all  Salute  .    .   . 

All :  Balance 

Turn  Partners  to  places . 


Danced  four  times,  the  first,  second,  third,  and 
fourth  couples  leading  successively. 

EXPLANATION 

First  Couple  Forward — The  First  Couple  walfe 
four  steps  forward.  The  lady  then  turns  facing  her 
partner,  who  retires,  with  a  bow,  to  place.  The  same 
movement  is  performed  by  each  of  the  other  coupiec 


Square  Dances  81 

in  succession.  This  leaves  the  four  ladies  standing 
in  the  centre,  facing  their  partners  and  with  their 
backs  to  each  other. 

Ladies  Hands  Around — ^The  ladies  join  hands  and 
slide  around  in  a  circle  to  the  left,  ending  facing 
partners  as  before,  and  letting  go  of  hands. 

Gentlemen  Forward  and  All  Salute — The  four 
gentlemen  step  forward,  each  giving  his  right  hand 
to  his  partner  and  his  left  to  the  lady  at  the  left  and 
all  salute. 

Balance  and  Turn  Partners  to  Places — Balance 
in  circle  and  turn  partners  to  places. 

CALLS  FOR  FOURTH  FIGURE 

Wait 8  measures 

Head  Couples:  Forward  and  Back 4         " 

First  Lady  and  Second  Gentleman :    To 

Sides 4 

Six :  Forward  and  Back,  Twice 8         " 

Two :  Forward  and  Back 4 

Forward,  Salute,  and  face  Partners  ....  4 

Fours:  Hands  Half  Round 4 

Head  Couples :  Half  Right  and  Left ....  4 

Danced  twice  by  Head  Couples  and  twice  by  Sides. 

EXPLANATION 

Head  Couples  Forward  and  Back,  First  Lady 
4NEt     Second    Gentleman    to    Sides — The    Head 


82  Danctng 

Couples  walk  four  steps  forward  and  four  steps  bacK 
They  then  forward  again,  and  the  first  lady  steps  t^ 
position  at  the  left  of  the  third  gentleman,  while  tht 
second  gentleman  steps  to  position  at  the  right  ol 
the  fourth  lady ;  the  first  gentleman  and  second  lady 
retire  at  the  same  time  to  their  respective  places. 

Six  Forward  and  Back — The  six  at  the  sides  no^.' 
forward  and  back,  twice. 

Forward  Two  and  Back  ;  Forward,  Salute,  anl 
Face  Partners — The  first  gentleman  and  second 
lady  forward  and  back,  forward  again,  and  salute 
each  other.  Both  then  turn  to  face  their  own  part- 
ners. 

Four  Hands  Half  Round — Each  four  thus 
formed  join  hands  and  slide  half  round.  Each 
gentleman  then  releases  the  hand  of  the  lady  at  his 
left.  The  Side  Couples  remain  in  original  position, 
while  the  First  Couple  goes  to  the  place  of  the  Second 
Couple,  and  the  Second  Couple  to  that  of  the  First 
Couple. 

Half  Right  and  Left — The  Head  Couples  cross 
over  to  original  places,  touching  right  hands  in  pass- 
ing and  turning  partners  to  place  with  left  hands. 

The  second  time  ^his  figure  is  danced,  the  first 
gentleman  and  the  second  lady  join  the  Side  Couples 
at  their  left ;  the  third  time,  the  third  lady  and 
fourth   gentlemen  join  the  Head  Couples  at  theii 


Square  ©ances  83 

right;  the  fourth   time,   the   third   gentleman   and 
fourth  lady  join  the  Head  Couples  at  their  left. 

FIFTH  FIGURE 
Commence  -with  the  music. 

Four  Ladies :  To  the  Right,  four  times  .    .  16  measures 
First  Gentleman  and  Opposite  Lady  :  For- 
ward and  Back 4         " 

Forward,  and  swing  to  face  Partners  ...  4  *• 
Head  Couples :  Chassez  to  Right  and  Left  4  ** 
Turn  Partners  to  Places 4         " 

Danced  four  times,  the  gentlemen  leading  succes- 
sively, each  with  the  opposite  lady. 

EXPLANATION 

Four  Ladies  to  the  Right — Each  lady  takes 
four  steps  t  o  the  right,  and  turns  the  gentleman  at 
her  right  with  the  right  hand.  Continuing  all 
around  the  set  in  the  same  direction,  she  turns  the 
next  gentleman  with  the  left  hand,  the  next  with  the 
right  hand,  and,  finally,  her  partner  with  the  left 
hand. 

First  Gentleman  and  Opposite  Lady,  Forward 
AND  Back — Forward  and  Swing  to  Face  Part- 
ners— The  two  walk  forward  four  steps,  then  back- 
ward four  steps,  forward  again,  join  right  hands  and 
Bwing  half  round,  so  that  each  faces  original  partner. 

Head    Couples    Chassez — To    the    right     (foul 


84  ©ancing 

counts),  to  the  left  (four  counts),  and  turn  partners 
to  place. 

After  this  figure  has  been  danced  four  times,  the 
ladies  repeat  the  first  movement  a  fifth  time  (16 
measures).  All  then  forward  and  back,  and  for- 
ward again.  The  gentlemen  leave  their  partners  in 
the  centre,  facing  them,  and  retire  to  place.  All 
salute  partners,  and  promenade  to  seats. 

LES  VARIETIES  PARISIENNES 

(PARISIAN  varieties) 

CALLS  FOR  FIRST  FIGURE 

Wait 8  measures 

Head  Couples :  Lead  to  the  Right,  Salute, 

and  Return  to    Place 4  •• 

Lead  to  the  Left,    Salute,  and   Return   to 

Place 4         •• 

Right  and  Left 8         »^ 

All:  Waltz 16 

Danced  four  times,  Heads  and  Sides  leading  alter- 
nately. 

EXPLANATION 

Head  Couples  Lead  to  Right — The  Head  Couples 
advance  towards  the  Side  Couple  at  the  right,  sahite, 
and  step  backward  to  place.  Repeat,  leading  to  tU€ 
lea 


Square  Dances  85 

Right  and  Left — The  Head  Couples  cross  over, 
each  lady  passing  between  the  opposite  couple.  Touch 
right  hands  with  opposite  in  passing,  and  turn  partner 
with  left  hand  in  opposite  couple's  place  (four  meas- 
ures). Cross  back  to  place  in  the  same  way  (four 
measures). 

All  Waltz — All  four  couples  waltz  around  the 
set  once.  Avoid  taking  too  long  steps,  and  keep 
exactly  within  the  limit  of  the  space  occupied  by 

CALLS  FOR  SECOND  FIGURE 

Wait 8  measarea 

Head  Couples:  Forward  and  Back  .   ...    4 

All :  Ladies  to  the  Riglit 4 

Polka 8 

Danced  four  times,  the  Side  Couples  leading  the 
second  and  fourth  times. 

EXPLANATION 
The  Head  Couples  Valk  forward  four  steps  and 
backward  four  steps.  The  ladies  then  all  pass  to 
the  gentlemen  at  their  right,  and  all  polka  round 
the  set  with  their  new  partners.  The  Side  Couples, 
still  with  changed  partners,  then  forward  and  back, 
four  steps  each  way,  and  the  ladies  each  pass  on  to 
the  next  gentleman  at  the  right.  Each  lady  now 
occupies  a  position  opposite  to  her  original  place  in 
the  set.     All  polka  round    the  set    again.     Head 


86  S>ancfng 

Couples  forward  and  back,  and  the  ladies  pass  again 
to  the  right.  All  polka  round  the  set.  Side  Couplea 
again  forward  and  back,  and  the  ladies  pass  on  to 
the  right,  and  are  thus  restored  to  their  original 
partners,  with  whom  they  polka  round  the  set. 

CALLS  FOR  THIRD  FIGURE 

"Wait 8  measures 

First  Gentleman :  To  Centre 2         " 

Ladies :  Form  Circle 2         •• 

Hands  Round      4         ** 

All :  "Waltz 16 

EXPLANATION 

The  first  gentleman  steps  to  the  centre  of  the  set. 
The  four  ladies  step  forward  and  join  hands,  thus 
forming  a  circle  around  him.  They  then  circle 
around  to  the  left  until  opposite  their  own  partners, 
when  they  turn  partners  to  places.  Finish  by  all 
waltzing  around  the  set. 

Danced  four  times,  the  four  gentlemen  leading 
successively. 

.  CALLS  FOR  FOURTH  FIGURE 

'Wait .8  measures 

Head  Couples  :  To  Right  and  Salute    ...  4 

Hands  Round 4         " 

All :  Mazourka. 

Danced  four  times,  the  Heads  and  Sides  leading 
alternately. 


Square  Dances  87 

EXPLANATION 

The  Head  Couples  lead  to  the  Side  Couples  at 
their  right,  salute,  and  join  hands  with  the  sides. 
The  two  circles  of  four  each  now  slide  around  to  the 
left  twice  (or  once  to  left  and  once  to  right) 
and  stop  in  original  places.  All  then  dance  the 
Mazourka  once  around  the  set. 

FIFTH  FIGURE 

Wait 8  measures 

Head  Couples :  Forward  and  Back      ...  4 

Separate  to  Sides 4 

Six :  Forward  and  Salute      4 

Ladies  :  Cross  Right  Hands  in  Centre    .    .  8 

All :   "Waltz 16 

Danced  four  times,  Heads  and  Sides  leading  alter- 
nately. 

EXPLANATION 

The  Head  Couples  forward  four  steps  and  back 
again  to  place.  The  first  and  second  gentlemen 
then  lead  their  partners  to  the  Side  Couples  at  their 
right,  and,  leaving  them  there,  return  to  place.  The 
three  at  each  side  then  advance  four  steps,  salute, 
and  relturn  to  place.  The  four  ladies  cross  right 
hands  in  the  centre  of  the  set,  and  walk  around  in  a 
circle  until  they  reach  their  original  places  in  the 
set.     At  the  same  time  their  partners  dance  arounj 


88  ©anclng 

the  set  in  the  opposite  direction,  thus  meeting  their 
partners  in  original  position,  and  turning  them  to 
place.     End  with  All  Waltz. 

NATIONAL  GUARD  QUADRILLE 

The  first  four  figures  of  this  quadrille  are  dedi- 
cated to  the  National  Guard,  and  the  fifth  figure  tc 
the  United  States  Army. 

CALLS  FOR  FIRST  FIGURE 

"Wait 8  measures 

Head  Couples:   Forw^ard  and  Back  ...   4 

Lead   to  Right  and  Salute 4 

Cross  Right  Hands  and  Turn 4 

Cross  Left  Hands  and  Return 4 

All :  Balance  to  Partners 4 

Turn  to  Places 4 

Danced  twice  by  Head  Couples  (leading  to  the 
left  the  second  time),  and  twice  by  Sides  (also 
leading  to  the  left  the  second  time).  . 

EXPLANATION 

The  Head  Couples  walk  forward  four  steps  and 
backward  four  steps.  They  then  walk  to  position 
facing  the  Side  Couples  at  their  right,  and  salute. 
This  brings  the  first  couple  facing  the  third,  and  the 
Second  couple  facing  the  fourth.  The  two  ladies  in 
each  group  join  right  hands  and  the  two  gentlemen 


Square  2>anced  89 

do  the  same,  their  hands  being  above  the  ladies*. 
They  then  walk  half  way  around  in  a  circle,  stop, 
release  right  hands,  turn,  join  left  hands,  and  walk 
back  to  the  position  from  which  they  started  (first 
couple  facing  third,  second  couple  facing  fourth). 
All  now  turn  and  form  two  lines,  partners  facing 
each  other.  The  lines  advance  four  steps  towards 
each  other,  and  the  gentlemen  turn  their  partners  to 
original  positions  in  the  set. 

CALLS  FOR  SECOND  FIGTT^E 

Wait ^  measures 

Head  Couples :  Forw^ard  and  Back  ....  4 

Turn  Partners  4 

Side  Couples :  Forward  and  Back    ....   4 

Turn  Partners 4 

Ladies  :  To  the  Centre 4 

Hands  Round  to  the  Right 4 

All:  Balance  to  Partners  and  Turn    ...   8         ** 

Danced  four  times,  twice  by  Head  Couples  and 
twice  by  Sides.  The  second  and  fourth  times  the 
gentlemen,  instead  of  the  ladies,  go  to  the  centr). 

EXPLANATION 

Forward  and  Back — As  in  the  first  figure. 

Turn  Partners — The  gentlemen  give  both  han<3U 
DO  their  partners,  walk  forward  two  steps,  backwaiG 
two  steps,  and  turn  once. 


90  Dancfnd 

Ladies  to  the  Centre — The  ladies  advance  foui 
steps  and  turn  back  to  back. 

Hands  Around — The  ladies  join  hands  and  slid* 
around  to  the  right  until  they  reach  again  the  place 
from  which  they  started,  facing  their  partners. 

Balance  and  Turn  Partners — As  in  first  figure. 

CALLS  FOR  THIRD  FIGURE 

Wait 8  measures 

Head  Couples:  Ladies  Forward  and  Back  4 

Ladies   Cross   Over 4 

Side  Couples  :  Ladies  Forward  and  Back  4 

Ladies  Cross   Over 4 

All :    Salute    Corners 2 

Salute  New^  Partners 2 

Turn  New  Partners  with  Right  Hand  .    .    4 
Promenade 8 

Danced  four  times.  The  second  and  fourth  times 
the  gentlemen,  instead  of  the  ladies,  execute  the 
"  Forward  and  Back  "  and  "  Cross  over." 

EXPLANATION 

The  first  and  second  ladies  advance  four  steps  and 
retire  four  steps,  and  then  cross  over,  thus  exchang- 
ing partners.  The  third  and  fourth  ladies  do  the 
eame,  so  that  all  secure  new  partners.  All  salute 
corners,  then  salute  new  partners  and  turn  new 
partners  once  with  right  hand.      The  Promenade  i^ 


Square  ©ances  91 

executed  by  all  the  couples,  dancing  the  Polka  once 
around  the  set. 


CALLS  FOR  FOURTH  FIGURE 

Wait   . 8  measures 

Head  Couples  :  ForT?vard  and  Back  ....  4  " 

Lead  to  the  Right  and  Salute 2  •• 

Form  Two  Lines  by  Joining  Sides      ...  2  •• 

All :  Forward   and   Back 4  " 

Forward  Again,  and  Side  Couples  Return 

to   Place 4  •• 

€ead  Couples :  Forward  and  Back  ....  4  •• 

Turn  Partners  to  Places 4  •* 

Danced  four  times,  twice  by  Heads  and  twice  by 
Sides. 

EXPLANATION 

The  first  two  movements  are  identical  with  those 
of  the  first  figure.  In  formir^g  lines,  the  Head  Couples 
separate  and  join  the  Side  Couples.  The  two  lines 
walk  forward  four  steps  and  backward  four  steps, 
then  forward  four  steps  again,  and  the  Head  Couples 
stop  while  the  Sides  retire  to  place.  The  first  and 
second  gentlemen  give  both  hands  to  their  partners, 
walk  two  steps  forward  and  t^o  steps  backward,  and 
turn  to  place. 


S)2  Dancing 


CALLS  FOR  FIFTH  FIGURE 

Salute  to  the  United  States  Army  ....    4  measures 

Ladies  :  To  the  Right,  four  times 32         " 

Head  Couples:  Crossover  and  Back.    .     8        " 
Side  Couples:  Cross  Over  and   Back  .    .     8        '• 

All :    Turn  Corners 4         " 

Turn  Partners 4 

Danced  four  times.     After  the  fourth  time, 

All :  Forward  and  Salute  Opposite  ....  4  measures 
Salute  Partaers   .   .       4         " 

EXPLANATION 

The  four  ladies  leave  their  partners,  advance  four 
steps  to  gentlemen  at  their  right,  salute,  and  turn 
with  right  hand.  They  then  pass  on  to  the  next 
gentleman,  and  so  on  around  the  set,  turning  orig- 
inal partners  last.  The  first  couple  then  join  hands, 
their  arms  crossed.  The  first  and  second  couples 
then  cross  over,  the  second  couple  separating  to  let 
the  first  couple  pass  between  them.  They  then 
return  to  place,  the  second  couple  joining  hands  and 
the  first  couple  separating.  This  is  repeated  by  the 
third  and  fourth  couples.  All  advance  four  steps  to 
corner  partners  and  turn  with  right  hands  ;  then  take 
four  steps  back  to  original  places  and  turn  partners 
with  left  hands. 


Square  2)ancea  95 

CONTRA-DANCES 

This  class  of  dances  derives  its  name  from  the  fact 
faat  partners,  instead  of  standing  side  by  side,  as  in 
the  square  dances,  stand  opposite  and  facing  each 
other.  Under  this  head  have  also  been  included,  for 
convenience,  a  few  dances  which,  though  not  con- 
forming to  the  description  given  above,  are  yet  more 
nearly  related  to  the  Contra-Dance  than  to  either  the 
Square  or  the  Round  Dances. 

THE  VIRGINIA  REEL 

(sir  ROGER    DE   COVERLY) 

This  is  the  most  popular  of  the  Contra-Dances, 
and  no  informal  programme  is  considered  complete 
without  it.  Any  number  of  couples  may  participate, 
but  where  the  number  of  dancers  is  very  large  it  is 
better  to  form  several  sets  of  six  or  eight  couples 
each  than  one  large  set.  Two  parallel  lines  are 
tormed,  one  of  gentlemen  and  one  of  ladies.  These 
two  lines  stand  facing,  each  gentleman  opposite  his 
partner.  The  space  between  the  lines  should  be 
about  four  feet  wide.  The  lady  and  gentleman 
occupying  the  ends  of  the  lines  towards  the  head  of 
the  room  are  called  the  top  or  First  Couple ;  the  lady 
and  gentleman  at  the  opposite  ends,  the  bottom  or 


96  Dancfni 

Last  Couple.  For  the  music,  any  hornpipe  or  reel 
may  be  used,  the  only  requirements  being  that  it  shall 
be  lively,  in  double  time,  and  having  a  marked 
rhythm. 

DESCRIPTION  OF  THE  DANCE 

First  Gentleman  and  Last  Lady  :  Forward 
and  back 4  measures 

The  two  take  four  steps  directly  towards  each 
other  and  four  steps  backward  to  place. 

First  Lady  and  Last  Gentleman :  The  same  4  measures 
First  Gentleman  and  Last  Lady :  Forward 
and  sw^ing  w^ith  Right  Hands 4 

The  two  step  forward  to  the  centre,  join  right 
hands,  swing  once  around,  and  step  backward  to 
place. 

First  Lady  and  Last  Gentleman  ;  The  same  4  measures 
First  Gentleman  and  Last  Lady :  Forward 
and  Swing  with  Left  Hands 4 

Exactly  like  preceding  movement,  only  joining 
left  hands  instead  of  right. 

First  Lady  and  Last  Gentleman  :  The  same  4  measures 
First  Gentleman  and  Last  Lady :  Forward 

and  swing  with  Both  Hands 4  " 

First  Lady  and  Last  Gentleman  :  The  same  4         •• 
First  Gentleman  and  Last    Lady :   Dos-a- 

Dm 4         " 


sauare  Dances  9^ 

The  two  advance  to  the  middle  of  the  set,  pass 
each  other  on  the  right,  move  around  each  other 
back  to  back,  without  turning,  and  step  backwards 
to  place. 

First  Lady  and  Last  Gentleman :  The  same  4  measures 
First  Couple :  Turn  each  other  with  Right 

Hands 2         " 

Separate  and  turn  next  couple  with  Left 

Hands 2         •* 

Turn  each  other  with  Right  Hands  .  2         •• 

Separate  and  turn  Third  Couple  with  Left 

Hands 2 

Turn  each  other  with  Right  Hands    ....  2         " 

A.nd  so  on  to  the  end  of  the  set,  the  first  lady  turn- 
ing each  of  the  gentlemen  and  the  first  gentlemai^ 
turning  each  of  the  ladies,  with  the  left  hand.  The 
amount  of  music  required  for  this  part  of  the  dance 
depends  upon  the  number  dancing  in  the  set. 
When  the  First  Couple  have  reached  the  bottom  of 
the  set,  they  join  hands  and  dance  back  to  original 
places.  All  then  face  towards  the  head  of  the  room 
and  following  the  leaders,  gentlemen  turning  to  the 
left  and  ladies  to  the  right,  march  down  the  outside 
and  up  the  middle  of  the  set.  This  brings  all  to 
original  positions.  The  First  Couple  then  join 
hands  and  dance  down  the  middle  to  the  bottom  oi 
the  set,  where  they   remain,   leaving  the    Second 


08  S>ancm0 

Uouple  at  the>  head.  The  dance  is  repeated  as  often 
as  desired,  generally  until  each  couple,  in  turn,  ha» 
occupied  the  position  of  Head  Couple.  Sometimes. 
;n  the  march,  when  the  First  Couple,  having 
marched  down  the  outside,  meet  at  the  bottom  oi 
the  set,  they  stop,  join  hands  and  raise  their  arms, 
allowing  all  the  other  couples  to  pass  under.  This 
leaves  them  at  the  bottom  oi  the  lines.  There  are 
no  pauses  in  this  dance,  and  the  step  throughout  is 
suggested  by  the  music — an  energetic  swinging  trot 
in  exact  time  to  the  music. 

POP  GOES  THE  WEASEL 

This  lively  little  dance  is  performed  with  the 
dancers  in  the  same  position  as  for  the  Virginia 
Reel.  The  same  step  is  also  employed.  It  is  always 
danced  to  the  tune  from  which  its  name  is  derived, 
and  each  movement  must  begin  and  end  exactly  with 
the  music. 

EXPLANATION  OF  THE  DANCE 
Head  Couple :  Down  the  Middle  and  Back  8  measures 

Take  exactly  eight  steps  in  each  direction. 

Down  the  Outside  and  Back 8         " 

The  gentleman  turns  to  the  left  and  the  lady  to 
the  right,  passing  outside  their  respective  lines  and 


Square  S>ance8  99 

taking  eight  steps  down  the  line  and   eight  steps 
back  to  place. 

Right  hands  across  with  Second  Lady    .   .  8  measures 

The  Head  Couple  cross  right  hands  with  second 
lady  and  swing  around  to  the  left. 

Left  Hands  Across  with  Second  Lady    .   .  8  measures 

The  three  drop  right  hands,  turn,  cross  left  hands 
and  swing  to  the  right  (4  measures).  The  First 
Couple  raise  their  joined  hands  and  the  second  lady 
darts  quickly  under  them  to  the  head  of  the  set,  all 
the  dancers  singing  "  Pop  Goes  the  Weasel  "  (4  meas- 
ures). The  First  Couple  then  perform  the  same 
movements  with  the  second  gentleman. 

Right  Hands  Across  w^ith  Second  Gentle- 
man     8  measures 

Left  Hands  Across  with  Second  Gentle- 
man     8         •• 

As  soon  as  a  couple  have  been  "  popped "  they 
move  up  a  step  on  their  respective  lines,  so  as  to 
leave  a  little  space  between  themselves  and  the  next 
couple.  The  First  Couple  then  repeat  the  whole 
figure,  turning  and  "  popping  "  the  next  couple,  and 
80  continue  throughout  the  set.  In  passing  outside 
they  do  not  go  to  the  ends  of  the  lines,  but  paas 


100 


^ancfnd 


between  the  couples  whom  they  have  "popped* 
and  the  rest  of  the  line.  As  soon  as  the  First 
Couple  have  turned  and  "  popped "  two  or  three 
couples,  the  Second  Couple  also  starts,  and  as  many 
couples  are  kept  in  lively  motion  as  can  dance  with- 
out confusion  and  mutual  interference.  The  dura- 
tion of  the  dance  depends  entirely  upon  the  strength 
and  patience  of  the  musicians. 


LA  TEMPfiTE 


This  is    danced  in 
N&a.d  of  T^oo^ 

xO    yO 
OX    <>X 

0  Lady        X  Gentleman 

^  four  in  eacis  set  face 


sets  of  four  couples  each, 
arranged  as  in  the  follow* 
ing  diagram  ; 

It  is  desirable  to  have  as 
many  sets  as  the  space  wilJ 
permit.  The  music  and  the 
figures  are  borrowed  from 
the  Quadrille,  and  the  lattei 
are  executed  simultaneously 
in  all  the  sets.  The  Head 
Couples  are  the  tw^o  couples 
in  each  set  occupying  the 
position  towards  the  head 
of  the  room.     The  two  Imes 

each  other. 


Square  S>ance0  101 

EXPLANATION  OF  THE  DANCE 

All :  Fonvard  and  Back,  Twice     8  measures 

The  four  in  each  line  joining  hands. 

Chasaez  Across,   Right  Hand  Couples  in 

Front 8  measure* 

The  right  hand  couples  slide  four  steps  to  the  left 
and  back  again,  and  the  other  couples  slide  four 
steps  Vo  the  right  and  back  again,  the  two  couples  in 
each  line  thus  crossing  each  other. 

Forward  and  Back,  Twice 8  measures 

Cross  Right  Hands  and  Round 4         " 

The  lady  and  gentleman  in  the  middle  of  each  line 
cross  right  hands  with  the  lady  and  gentleman  oppo- 
site them,  thus  forming  a  moulinet  of  four.  At  the 
same  time  the  gentleman  at  the  end  of  each  line  joins 
hands  with  the  lady  opposite  him  and  performs  the 
same  figure,  which  is  thus  executed  simultaneously 
by  three  combinations  in  each  set.  . 

Cross  Left  Hands  and  Back 4  measures 

As  described  above,  substituting  left  hand  for  right 

Hands  Round  to  the  Left 4  measures 

Back  Again  to  the  Right 4  *• 

The  four  in  the  middle  and  the  pair  at  each  end 
of  the  lines  execute  the  last  two  movements  also  sim* 
ultaneously. 


102  Danctng 

All:  Forward  and  Back   •    ...    »   •  .  •   •  4  measnr^B 
Forward  and  Through  to  Next  Set  ....   4         •• 

In  passing  through  the  Head  Couples  raise  their 
joined  hands  and  the  other  couples  pass  under  them. 
In  this  way  the  sets  are  continually  changing,  each 
dancer  having  a  new  vis-a-vis  each  time.  After  the 
first  and  every  odd  number  of  times  the  figure  is 
danced,  there  will  be  two  couples  at  each  end  of  the 
room  without  any  opposites.  They  simply  face 
around  in  line  and  wait  until  the  repetition  of  the 
figure  brings  them  into  action  again.  This  dance 
may  be  repeated  any  number  of  times. 


THE  SPANISH  DANCE 


This  dance  can  be 

performed   by   any 

number  of  couples, 

^^„  ^     \  arranged  in  a  circle 

as  in  the  following 
diagram : 

This   constitutes 

K-li  -r—rf  ^^  endless  series  of 

VSy'/^i;~A       '^/-iziL^  sets   composed   of 

-i\^/^  '^*v/I]?^'  ^^^'^    couples    each. 

^  liftdy  X  Gentleman  The  couples  in  cacb 


Square  Dances  103 

set  face  each  other,  and  have  their  backs  towards  the 
couples  in  the  adjoining  sets.  Each  set  may  be 
regarded  as  a  little  square,  the  ends  of  which  are 
occupied  by  the  two  couples,  while  the  sides  are 
vacant.  The  music  is  in  waltz  time,  with  three  beats 
in  a  measure,  the  first  beat  only  being  accented. 

DESCRIPTION  OF  THE  DANCE 
Two  Couples :  Forward  Pour 2  measures 

Each  gentleman  takes  his  partner's  right  hand  in 
his  right.  All  take  one  step  forward,  raising  joined 
hands  in  front  (1  measure,  3  counts).  Take  one 
step  backward,  lowering  hands  (1  measure,  3  counts). 
Change  Partners      2  measures 

All  forward  one  step  as  before  (1  measure,  3 
counts).  The  gentlemen  stop,  while  the  ladies  cross 
over,  giving  left  hands  to  gentlemen's  right,  and  all 
turn  so  as  to  occupy  the  sides,  instead  of  the  ends 
of  the  square.  The  gentlemen  now  stand  at  the 
side  to  the  right  of  their'  original  position,  with 
changed  partners.  The  same  movements,  are 
repeated  (4  measures,  12  counts),  which  brings  part- 
ners together  again,  but  at  the  end  of  the  set  oppo- 
site to  original  position.  The  same  movements  are 
executed  twice  more  (8  measures,  24  counts),  which 
restores  partners  to  each  other  and  to  original  posi- 
tions in  the  set. 


104  Dandng 

Cross  Right  Hands  4  measuren 

The  two  ladies  and  the  two  gentlemen  in  each 

set  now  join  right  hands  and  swing  around  to  the 

left  (4  measures,  12  counts). 

Cross  Left  Hands 4  measures 

All  stopjturn,  join  left  hands  and  swing  back  to  place. 

All :  Waltz 8  measures 

Each  couple  waltzes  around  in  its  own  square  or 

set  once,  and  then  takes  another  half  turn  into  the 

next  set,  where  they  stop.     Each  couple  thus  has  a 

new  vis-a-vis    each    time    the    dance   is  executed. 

Repeat  as  often  as  desired. 

THE  SICILIAN  CIRCLE 

In  this  dance  the  sets  are  arranged  exactly  as  in 
the  Spanish  Dance  (see  diagram,  p.  102).  The 
movements  are  adapted  from  the  Plain  Quadrille, 
and  the  music  is  in  2-4  time. 

DESCRIPTION  OF  THE  DANCE  CALLS 

T'wo  Couples :  Right  and  Left 8  measures 

Balance  and  turn  Partners 8         " 

Forward  and  Back 4         •• 

Forward  and  through  to  next  set  (as  in  La 
Tempete,  p.  100)         4         " 

For  full  description  of  movements  see  first  figure 
of  Plain  Quadrille  (p.  29). 
To  be  repeated  at  wilL 


CoKKKCT  Position  for  Round  Dances 


IV 

ROUND  DANCES 

GENERAL  SUGGESTIONS 

PosiTioN^ — Partners  stand  facing  each  other,  the 
lady  a  little  to  the  right  of  her  partner,  so  that  each 
is  looking  over  the  other's  right  shoulder.  The  gen- 
tleman places  his  right  arm  around  his  partner's 
waist,  in  such  a  way  that  the  angle  formed  by  bend- 
ing his  arm  at  the  elbow  comes  just  under  her 
shoulder.  It  is  at  this  point  that  he  gives  support 
and  guidance  to  his  partner.  His  right  hand  should 
touch  her  waist  as  lightly  as  possible.  The  lady 
places  her  left  hand  upon  her  partner's  right  shoul- 
der. Her  right  hand  she  places,  palm  down,  in  her 
partner's  left.  The  lady's  right  arm  and  the  gentle- 
man's left  are  extended  nearly  straight,  and  are  lifted 
a  few  inches  from  the  side.  This  is  the  position 
universally  recognized  as  correct,  delicate  and  grace- 
ful. Occasionally,  variations  from  this  standard 
attain  an  ephemeral  popularity,  and  can  be  readily 
learned  through   observation  by  those  who  care  to 

107 


108  Dancing 

adopt  them.  It  is  the  duty  of  the  gentleman  to 
guide  his  partner  in  the  dance,  and  he  should  hold 
her  with  suliicient  firmness  to  make  this  guidance 
unmistakable,  but  by  no  means  so  closely  as  to  inter- 
fere with  absolute  freedom  of  movement.  The  lady 
should  yield  entirely  to  her  partner's  guidance.  Un- 
necessarily close  personal  contact  should  be  strictly 
avoided,  both  because  it  is  unrefined  and  because  it 
leads,  inevitably,  to  awkwardness  in  posture  and 
movement.  The  lady  should  not  lean  upon  her 
partner.  He  is  not  supposed  to  sustain  any  portion 
of  her  weight.  The  gentleman  should  adapt  his 
step  to  that  of  the  lady,  and  especially  guard 
against  taking  too  long  steps.  The  feet  should  be 
scarcely  lifted  from  the  floor,  but  slipped  along 
its  surface.  Observance  of  this  rule  will  generally 
prevent  the  unfortunate  accident  of  stepping  upon 
the  toes  or  skirts  of  other  dancers.  While  both 
dancers  should  incline  a  trifle  forward  from  the 
waist,  an  exaggeration  of  this  position  is  extremely 
awkward.  The  lady  should  especially  avoid  pro- 
jecting her  chin  or  resting  it  upon  her  partner's 
shoulder. 

Before  attempting  to  learn  any  of  the  round  dances 
the  student  should  thoroughly  familiarize  himself 
with  what  is  said  of  Steps  and  Positions  on  pa,^es  ^  1 
to  20. 


'RounD  H)anced  108 

THE  WALTZ 

The  Waltz  is  the  most  popular  of  the  round 
dances.  It  is  generally  considered  to  be  also  the 
most  difficult  to  acquire,  but  when  learned  it  fur- 
nishes the  key  to  all  the  others. 

Waltz  music  contains  three  beats  in  a  measure,  the 
first  /  the  three  being  accented.  The  waltz  step 
consists  of  six  movements,  one  to  each  beat  of  the 
music,  thus  occupying  two  measures.  The  rhythm 
of  the  step  corresponds  to  the  rhythm  of  the  music. 
Thus  the  first  and  fourth  movements  are  accented. 
The  six  movements  are  performed  as  follows : 

Leap — Step  straight  forward  on  right  foot  (1). 

2.  Slide  —Bring  the  left  to  Second  Position  and  transfer 

weight  to  it  (2). 

3.  Change— Bring  hollow  of  right  foot  to  heel  of  left  and 

change  weight  to  it  (3). 

4.  Leap— Step  backward  on  left  foot  (1). 

5.  Slide— Step  to  Second  Position  on  right  foot  (2). 

6.  Change— Bring  the  heel  of  left  foot  to  hollow  of  right 

and  change  weight  to  I'eft  (3). 

Notice,  that  each  movement  is  a  step,  the  weight 
being  constantly  transferred  from  one  foot  to  the 
other,  just  as  in  walking. 

The  student  will  find  it  helpful  to  practice  these 
steps  slowly  and   in  perfect  time,  simply  walking 


110  Banclng 

through  the  dance,  without  turning,  and  sliding  the 
feet  along  the  floor  instead  of  raising  them. 

Avoid  all  unnecessary  effort.  Remember  that  the 
energy  used  in  dancing  is  altogether  confined  to  the 
lower  limbs,  the  upper  part  of  the  body  being  simply 
carried  along.  The  unfortunate  habit  which  some 
dancers  have  of  flapping  the  arms  vigorously  is  of 
no  assistance  in  propelling  the  body,  and,  like  all 
aimless  movements,  detracts  greatly  from  one's  grace 
and  dignity. 

Before  attempting  to  turn,  these  steps  should  be 
practiced  forward  and  backward  in  an  imaginary 
square,  as  indicated  in  the  following  diagram :  R. 
and  L.  indicate  Right  and  Left  respectively,  and  the 

^— ,     numerals,  1,  2,  etc.,  the 

M     different  movements  of 
^\N/r/  ui\     the   dance.        The  stu- 

^  I     dent  should   first  place 

j  the  feet  in  the  positions 
[  indicated  by  5  and  6, 
I  and  take  the  first  step 
r>v  '  from  that  position. 
|\L\  ^m  These  steps  having 
Lji)^^«.«—^-.« CZ€I     been     diligently     prac- 

THE  Waltz  Step  ^^^^^   ^^til   they   can   be 

executed  in  perfect  time  and  with  moderate  rapidity. 
the  next  point  to  master  is  the  art  of  turning.     The 


E 


■RounO  Dances  11, 

'urn  is  made  by  pivoting  on  the  balls  of  the  feet  on 
the  second,  third,  fifth  and  sixth  steps.  There  is  no 
turn,  observe,  on  the  first  or  fourth,  which  are  taken 
in  a  straight  line  forward  and  backward  respectively. 
Practice  turning  in  the  following  way  : 

Step  forward  on  the  right  foot  (1),  and,  while 
bringing  the  left  foot  to  second  positioUj  make  a  quarter 
turn  to  the  right  by  pivoting  on  the  ball  of  the  right 
foot.  '*'' 

The  left  being  now  in  second  position  (2),  con- 
tinue pivoting  to  the  right  on  the  left  foot,  making 
another  quarter  turn  while  executing  the  third  move- 
ment with  the  right  foot  (3). 

Step  backward  on  the  left  foot  (4),  and  make 
another  quarter  turn  while  bringing  the  right  foot  to  the 
second  position  (5),  and  pivot  on  the  right  foot,  mak- 
ing a  quarter  turn  while  executing  the  sixth  move- 
ment with  the  left  foot  (6). 

These  movements  must  be  perfectly  smooth  and 
continuous.  Many  superior  dancers  make  no  dis- 
tinction between  the  Leap  and  the  Slide  in  the  waltz, 
but  glide  throughout  the  dance  as  smoothly  as  pos- 
sible. The  Leap,  if  used,  should  be  so  modified  as 
simply  to  impart  a  little  additional  elasticity  to  the 
first  and  fourth  steps.  If  given  with  the  least 
jerkiness  the  rhythm  of  the  dance  is  destroyed. 

The  steps  as  described  are  exactly  the  same  for  both 


112  fi)ancfna 

ladies  and  gentlemen,  but  when  the  lady  steps  fbT* 
ward,  her  partner  must,  of  necessity,  step  backward, 
and  vice-versa;  hence,  while  the  lady  executes  the 
movements  of  the  waltz  in  the  regular  order,  1,  2,  3, 
4,  5,  6,  the  gentleman  begins  by  stepping  backward 
on  the  left  foot,  and  executes  the  movements  in  this 
order  :  4,  5,  6,  1,  2,  3. 

As  turning  continuously  in  one  direction  would 
soon  cause  dizziness,  the  movements  are  reversed  at 
will,  and  in  order  to  effect  this  reverse  easily,  an 
intermediate  movement  called  the  Pursuit  is  intro- 
duced.    The  steps  for  the  lady  are  as  follows : 

1.  Slide  forward  on  right  foot  (1). 

2.  Slide  forward  on  left  foot  (2). 

3.  Bring  right  to  fifth  position,  toes  touching  the 
heel  of  the  left  (3). 

4.  Slide  forward  on  left  foot  (1). 

5.  Slide  forward  on  right  foot  (2). 

6.  Bring  left  to  fifth  position,  toes  touching  heel 
of  right  foot  (3). 

The  weight  is  changed  from  one  foot  to  the  othei 
with  each  step.  The  movements  for  the  gentleman 
are  the  reverse  of  those  for  the  lady : 

1.  Slide  backward  on  left  foot  (1). 

2.  Slide  backward  on  right  foot  (2). 

3.  Bring  left  to  fifth  position,  lieel  touching  toe« 
of  right  foot,  but  raised  from  the  floor  (3). 


•RoutiD  S)ance0  118 

4.  Slide  back  on  right  foot  (1). 

5.  Slide  back  on  left  foot  (2). 

6.  Bring  right  foot  to  fifth  position  (3). 

The  gentleman  thus  moves  continuously  backward 
during  the  Pursuit,  and  the  lady  forward.  While 
this  is  not  a  hard  and  fast  rule,  it  is  better  to  observe 
it,  as,  in  dancing  backward,  a  lady's  skirt  is  more  or 
less  in  the  way,  even  though  it  be  of  the  regulation 
dancing  length. 

The  reverse  consists  in  pivoting  to  the  left  instead 
of  to  the  right,  in  turning.  In  order  to  do  this  it  is 
necessary  to  reverse  the  order  in  which  the  feet  are 
used,  taking  the  forward  step  (1)  witli  the  left  foot, 
and  the  backward  step  (4)  with  the  right.  The 
Pursuit  may  be  introduced  without  reference  to  the 
Reverse  and  simply  to  break  the  monotony  of  the 
continual  turning  to  the  right.  In  this  case  the  six 
steps  as  described  are  danced  one  or  more  times,  as 
desired,  after  which  the  turning  to  the  right  is  re- 
sumed. When,  however,  the  Pursuit  is  designed  to 
lead  into  the  Reverse,  it  may  be  executed  any  num- 
ber of  times,  but  must  end  with  the  Third  step. 
The  reason  for  this  will  be  made  clear  by  a  reference 
to  the  description  of  the  Pursuit.  When  the  third 
step  is  taken,  the  lady  is  ready  to  step  forward  on 
the  left  foot,  and  the  gentleman  is  ready  to  step 
backward  on  the  right  foot.     The  turning  is  thus 


:i4  Dancing 

resumed,  taking  the  forward  step  (1)  with  the  left 
foot  and  the  backward  step  (4)  with  the  right  fool 
and  pivoting  to  the  left  instead  of  to  the  right  od 
2,  3,  5,  and  6. 

In  changing  back  from  the  Reverse  to  the  original 
movement  the  Pursuit  is  again  introduced,  but  the 
lady  now  takes  the  first  step  forward  with  the  left 
foot,  the  gentleman,  at  the  same  time,  stepping 
backward  on  the  right  foot.  When  the  third  step 
has  been  taken,  the  lady  is  ready  to  step  forward  on 
the  right  foot  and  the  gentleman  to  step  backward 
on  the  left  foot.  The  original  movement  is  thus 
resumed. 

While  the  description  of  these  movements  seems 
quite  involved,  the  movements  themselves,  when 
once  mastered,  are  very  simple. 

Avoid  taking  too  long  steps. 

Avoid  hopping  and  jerking.  Strive  to  acquire 
smoothness  and  ease  of  movement.  Marked  phys- 
ical exertion  in  dancing  is  unnecessary,  and  wholly 
out  of  keeping  with  its  character  as  a  recreation. 


THE  DEUX-TEMPS  (TWO-STEP) 

Slide  with  the  right  foot  straight  to  the  side,  bring 
the  hollow  of  the  left  foot  to  the  heel  of  the  right 
Had  change  weight  to  left  foot  (1).    The  slide  is 


I 


IRounD  Dances  115 

accented,  and  as  little  time  as  possible  given  to  the 

change. 

Step  forward   on  the   right   foot  (2),  and  bring 

left  foot  forward  so  that  the  toes  are  opposite  the 

hollow  of  the  right  foot, 
and  at  the  same  time 
pivot  to  the  right  on  the 
right  foot. 

Slide  with  the  left 
foot  to  the  side,  bring 
the  hollow  of  the  right 
foot  to  the  heel  of  the 
left  and  change  weight 

^  ^ ^u/_j     to  right  foot  (1 ). 

^  rr,     ^      r^       „   "^l/         StcD  backward  on  left 

The  Dkux-Temps  Step  ^ -^  ^ 

foot  and  bring  right  foot 

to  position  with  toes  opposite  the  hollow  of  the  left 

foot,  pivoting,  at  the  same  time,  to  the  right,  on  the 

left  foot.     Then  recommence  wdth  the  right  foot. 

The  Reverse  is  accomplished  by  stepping  forward 

with  the  left  foot  and  backward  with  the  right  on 

2,  and  pivoting  to  the  left  instead  of  to  the  right. 

THE  GALOP 

This  step  is  very  simple,  and  consists  of  the  two 
movements  Slide  and  Change. 


116  ^  2)ancing 

Slide  with  the  right  foot  straight  to  the  side,  and 
bring  the  hollow  of  the  left  foot  to  the  heel  of  the 
right,  changing  the  weight  to  the  left  foot  (1). 
Repeat  three  times,  making  in  all  four  slides  to  the 
right.  Accent  the  slides  and  give  as  little  time  as 
possible  to  the  change.  The  fourth  time,  instead  of 
transferring  the  weight  to  the  left  foot,  pivot  on  the 
right  foot,  making  a  half  turn  to  the  right.  Then 
take  four  slides,  with  the  left  foot  leading.  Pivot  to 
the  right  on  the  left  foot  and  repeat  with  the  right 
foot  again  leading. 

THE  POLKA 

Slide    forward    on    right 
foot  (1). 
y^Ai  Bring    the    left  foot   up 

0'''  y      ;♦.*        parallel  with  the  right  and 
Afe^       i  5        change  weight  to  it  (2). 
/y^       |\)^         Slide  the  right  foot  for- 
'V^  ;   ;       ward  again  (3). 

L|  Bring  the  left  foot  up  par- 

r-  i  :        allel  with  the  right,  without 

|W  V^     changing  the  weight  to  it, 

y^      and  at  the  same  time  pivot 

to  the  right  on  the  right  foot  (4). 

Slide  backward  on  left  foot  (1). 


'Rcu^^  Dances 


119 


Bring  right  foot  back  parallel  with  left,  and  change 
weight  to  right  foot  (2). 

Slide  backward  again  on  left  foot  (3). 

Bring  right  foot  back  parallel  with  left,  without 
changing  the  weight,  and  at  the  same  time  pivot  to 
the  right  on  the  left  foot  (4). 

Then  commence  again  with  the  right  foot. 

To  reverse,  take  the  forward  steps  with  the  left 
foot  and  the  backward  steps  with  the  right,  and 
pivot  to  the  left. 

THE  THREE-SLIDE  POLKA  (ESMERALDA) 

The  music  contains  two  beats  to  a  measure.  The 
steps  are  all  taken  straight  to  the  side,  and  a  half 
turn  is  made  on  the  fourth  count,  so  that  the  right 
and  left  feet  lead  alternately. 


(TWO  MEASURES  OF  MUSIC) 


Connts,  .  . 
Steps,  .  .  . 
First  Time, 


Slide,  Change 
Right,  Left 


Second  Time, [Left,  Right 


2 

Slide,  Change 
R.ght,  Left 
Left,  Right 


Slide,  Change 
Right,  Left 
Left,  Right 


Leap,  Hop 
Riglit,  Right 
Left,  Left 


THE  BERLIN 

Danced  to  Polka  time,  two  beats  in  a  measure. 
Partners  stand  side  by  side  and  facing  the  same 
way.    The  gentleman  takes  his  partner's  left  hand 


120  Dancftifi 

in  his  right,  their  arms  a  little  raised.  The  lady 
starts  with  the  right  foot,  the  gentleman  with  the 
left.  The  directions  as  given  are  for  the  lady.  Gen- 
tlemen will  substitute  "  Left "  for  "  Right." 

Slide  forward  on  right  foot  (1). 

Bring  hollow  of  left  foot  to  heel  of  right,  and 
change  weight  to  left  foot  (1). 

Leap  forward  on  right  foot  (2). 

Hop  on  the  right  foot,  at  the  same  time  crossing 
the  left  foot,  raised,  over  the  right  in  front,  with  the 
toes  pointed  downward  (3). 

Hop  again  on  the  right  foot,  turn  half  round  (lady 
to  left, gentleman  to  right), change  hands  and  bring  the 
left  foot,  raised,  to  third  position  behind  the  right  (4). 

Repeat  the  above,  moving  now  in  the  opposite 
direction  from  that  in  which  the  start  was  made. 

At  the  end  of  the  fourth  measure  (eight  counts), 
take  waltz  position  and  dance  the  polka  for  four 
measures,  alternating  thus  throughout  the  dance. 

HEEL-AND-TOE  POLKA  (BOHEMIENNE) 

The  lady  hops  slightly  on  the  left  foot,  and  at  the 
same  time  extends  the  right  to  second  position  with 
tlie  heel  touching  the  floor  and  tlie  toes  raised  (1)  ; 
then  hops  again,  bringing  the  right  foot  to  fifth  posi- 
tion behind  the  left,  toes  touching  the  floor  (2). 


•RounJ)  Dances  121 

This  occupies  one  measure  of  the  music,  and  is 
followed  by  one  measure  of  the  plain  polka,  after 
which  the  heel-and-toe  is  repeated  with  the  left 
foot. 

The  steps  for  the  gentleman  are  the  same,  substi- 
tuting left  for  right,  and  vice  versa. 

The  Heel-and-Toe  and  the  plain  polka  are  thus 
alternated  throughout  the  dance,  or  four  measures 
of  these  two  movements  combined  may  be  alternated 
with  four  measures  of  the  Esmeralda. 

THE  MILITARY  SCHOTTISCHE 

(dancing  in  the  barn) 

Partners  stand  side  by  side  and  facing  the  same 
way.  The  gentleman's  right  hand  rests  lightly  on 
the  lady's  waist,  and  her  left  hand  rests  on  his  right 
shoulder. 

The  lady  starts  with  the  right  foot,  the  gentleman 
with  the  left.  In  the  following  directions,  which  are 
for  the  lady,  the  gentleman  will  substitute  loft  for 
right,  and  vice  versa  : 

Step  forward  on  right  foot  (1). 

Bring  left  foot  to  third  position  behind  right,  and 
change  weight  to  left  foot  (2). 

Leap  forward  on  right  foot  (3). 

Hop  on  right  foot,  at  the  same  time  extending  the 


122  2>anctn0 

left  foot  raised,  in  fourth  position  in  front  of  rights 
toes  pointed  downward  (4). 

Repeat  these  movements,  starting  with  the  left 
foot  (Four  Counts). 

Face  partner  and  take  waltz  position.  Leap  for- 
ward on  right  foot  (1). 

Slide  forward  on  left,  turn  half  round  to  right  and 
change  weight  to  right  foot  (2). 

Leap  backward  on  left  foot  (1). 

Slide  back  on  right,  change  weight  to  left  foot 
(2). 

Repeat  last  four  movements.  Accent  only  the 
leap  and  the  change.  In  the  slide  the  toes  only 
touch  the  floor,  and  as  little  time  as  possible  is  given 
to  it. 

THE  FIVE-STEP 

This  is  danced  to  Schottische  music.  There  are 
four  counts  in  this  dance,  the  fifth  step  being  merely 
a  grace  step,  to  which  no  accent  and  as  little  time  as 
possible  is  given.  All  the  steps  except  the  third  are 
taken  in  a  straight  line  to  the  side.  The  third  step 
is  taken  either  forward  or  backward.  The  following 
directions  are  for  the  lady.  The  gentleman  starts 
with  the  left  foot,  stepping  backward  when  the  lady 
steps  forward,  and  vice  versa. 

Step  to  the  right  (1). 


■Roun&  Dances  123 

Bring  left  foot  to  first  position  and  change  weight 
to  left  foot  (2). 

Step  forward  on  right  foot  and  make  a  half  turn 
to  the  right  (3). 

Step  to  second  position  on  left  foot  (4).  At  the 
very  end  of  this  count,  bring  right  foot  quickly 
to  the  first  position  and  change  weight  to  right 
foot. 

Step  to  the  side  on  the  left  foot  (1). 

Bring  right  foot  to  first  position  and  change  weight 
to  right  foot  (2). 

Step  backward  on  left  foot,  making  a  half  turn  to 
the  right  (3). 

Bring  right  foot  to  second  position,  change  weight 
quickly  to  left  foot  (4),  and  re-commence  with  right 
foot. 

To  reverse,  take  the  forward  step  on  3  with  the 
left  foot  and  the  backward  step  with  the  right  foot, 
and  turn  to  the  left  instead  of  to  the  right. 


THE  YORKE. 

This  dance  is  an  evolution  from  the  old  Polka 
Mazourka,  and  is  danced  to  the  same  music.  This 
is  in  3-4  time,  but  differs  from  the  waltz  rhythm 
in  that  each  of  the  three  beats  receives  some  ac* 
cent. 


124 


S)ancfn0 


ConnU,       .  . 
Steps,    .  . 
First  Time,   . 
Second  Time, 


TWO  MEASURES  OF  MUSIC 


Slide,  Change 
Right,  Left 
Left,  Righf 


.  2  .1.  .   .  3  .  .  . 
Slide    Change,  Hop 
Right  I  Left,  Left 
Left    I  Right,  Right 


.  4  . 

Slide 
Right 
l«ft 


.  6  .  I  .  6  . 
Change  ^Leap 
Left  Right 
Right    I  Left 


The  steps  on  1, 2  and  3  are  taken  in  a  straight  lin« 
to  the  side.  On  4,  5  and  6,  a  half  turn  to  the  right 
is  made.  The  directions  given  are  for  the  lady. 
Gentlemen  will  substitute  left  for  right  and  vice 
versa, 

THE  CAPRICE   WALTZ 

This  is  a  popular  variation  of  the  waltz,  and  la 
danced  to  the  same  music.  Eight  measures  are  re- 
quired for  a  single  execution  of  the  movements. 
The  steps  in  the  first  four  measures  are  taken  straight 
to  the  side.  A  half  turn  is  made  in  the  fifth  meas 
ure,  in  which  the  plain  waltz  step  is  used ;  also  in 
the  sixth,  and  again  on  the  first  two  counts  of  the 
seventh  measure.  The  last  two  slides  are  also  made 
to  the  side. 


Measures 

Counts, 

Steps, 

ti^*r. 

.  1.  .  2  .  .3  . 

SUde,  Change  and 

Bop 
Biefat,Left 

.  1  .  .  2  .  .  3  . 
Slide,  Change  and 

Hop 
Bight,  L«ft 

.  .  .  .  S  .  .  .  . 
.  1  .  .  2  .  .  8 

Slide,  Change- 
Slide,  Change 

Right,  Left- 
Bigbt^LA 

'Rouno  2)anced 


125 


MeasQr««, 
Counts,  . 
Steps,    .  . 


I^ady. 


Measures, 
Counts,  . 
Steps,  .  . 
JLady,    .  . 


.   .  .   .  4  .  .   . 
.  1  .  .  2  .  .  3 

SUde,  Change 

Right,  Left 


...  5 
1  .   .  2 

p 

Change 
Right,  Left,  Right 


.  ...  6  ...  . 
.  1  .  .  2  .  .  8  . 

Leap,  Slide- 

Chauge 
Left,  Right-Lefl 


7 

.1 2  .      .       .  .     3 

Leap,  Slide-Change,  Slide-Change 
Right,  Leftr-Right,  Left^Right 


1  .  .  2  . 
Slide,  Hop 
Left,  Left 


CHRISTMAS  POLKA 

The  peculiarity  of  this  dance  is  in  the  fact  that 
each  strain  requires  a  differ<»nt  step  or  dance,  the 
music  being  accented  in  accordance  with  the  motions 
used.  A  couple  may  begin  at  any  part  of  the 
music,  but  should  be  careful  to  commence  with  the 
motions  assigned  to  that  part,  as  follows : 


1st  strain. 

Three-slide  polka 
or  Esmeralda. 


2d  strain. 

Bohemi  an  or 
heel-and-toe  polka. 
4  bars,  alternating 
with  three-slide 
polka.    4  bars  also. 


3d  strain. 

Racket. 


4th  strain. 

The  "Merrj. 
thought,"  a  new 
combination  of 
steps  which  is  illus- 
trated below. 


izl 


Step,  close,  step,        close, 


step, 


change,  leap 


p=i 


^ 


t7i=t: 


'^3^ 


step,  close  step,  close,  step^ 


change,     leap. 


126 


Danctno 


1st  measure. 

Sideways,  lady 
with  right  foot, 
gentleman  with 
left. 


'/Sd  measure. 

Half  turn,  same 
as  in  Polka. 


3d  measvre.       1 4%h  noie&sare 

Sideways,    lady      Half  turn,  as  !» 
with    left    foot,  I 
gentleman  withj 
right 


At  each  step  a  slight  stamp  is  made  with  the  foot. 
To  the  following  four  bars  the  three-slide  polka  is 
used ;  then  the  "  Merry-thought "  in  the  succeeding 
four  bars  and  strain,  finished  with  the  three-slide 
polka. 

Tlie  same  succession  of  movements  is  executed  at 
the  repetition  of  the  strain. 


THE  RACKET 

In  this  dance  only  two  motions  are  employed,  the 
Slide  and  the  Change^  two  changes  following  one 
slide.  No  full  turn  is  made,  and  the  novice  should 
practice  the  motions  to  and  fro  sideways,  one  bar 
each  way,  taking  care  that  one  foot  is  not  thrown 
out  too  far,  so  that  when  the  toe  touches  the  floor 
in  making  the  two  changes  the  movement  will  be 
graceful.  The  slide  is  made  in  every  possible  direc- 
tion during  the  dance.  The  accent  is  shown  in  the 
following  diagram  ? 


Pleasures, 
I'Our.ts,  .  . 
Steps,  .  .  . 


TRouttO  S)ance0  127 


2. ..I. ..8. ..I.. .4 


1  .   .   .2.   .1.1.   .   .2.   .     .1  .   .   .2.   J  .1 


Gentleman, 


Slide,  Change-'siide,  Change, 'Slide,  Change,  Slide, Change 
Change  Change         j     Change         |     Change 

Right,  Left-    'Left,  Right-     Right,  jueft-     Left,  Right- 
Right  I    Left  I    Right  |    Left 

Left,  Right-     Right,  Left-    Xeft,  Right-     Right,  Left. 
Left  I    Right  I    Left  I    Right 


HIGHLAND  SCHOTTISCHE 

Usually  danced  to  a  strathspey. 

This  dance  differs  from  the  original  Schottische  in 
the  introduction  of  motions  (steps)  taken  from  the 
Highland  Fling ;  also  in  the  length  of  the  two  phrases, 
which  are  extended  to  four  bars  each,  instead  of  two. 
During  the  first  phrase  of  four  bars,  while  dancing 
the  Highland  Fling  steps,  the  dancers  do  not  take 
hands,  but  remain  face  to  face.  Those  who  are 
familiar  with  all  the  movements  of  the  Fling  raise 
one  hand  above  the  head,  while  resting  the  other  upon 
the  hip,  as  it  is  done  when  dancing  that  active  dance. 

Great  latitude  is  taken  at  this  part  of  the  dance, 
as  any  steps  (motions)  belonging  to  the  Fling  may 
be  introduced.  One  of  the  most  familiar  of  these 
steps  may  be  described  as  follows  : 

1.  Hop  on  left  foot ;  at  same  ' '  ^^e  extend  right  to 
second  position. 

2.  Hop  again  on  left  foot;  at  same  time  bend  right 
knee,  and  raise  right  foot  behind  left  lejg 


128 


Daticmg 


3.  Hop  a  third  time  on  left  foot,  extending  right 
to  second  position. 

4.  Hop  a  fourth  time  on  left,  and  pass  right  fooi 
in  front  of  left  leg  by  bending  the  right  knee. 

These  motions  the  same  for  opposite  feet.  The 
above  would  be  a  fling  step  with  the  right  foot. 
Making  the  hops  upon  the  right  foot  and  swinging 
the  left  would  be  left-foot  step. 

THE  DANCE 


Utbar. 

Fling  Btep. 
Lady  right 
foot.  Gentle- 
man left. 


2d  bar. 

First  phrase 
of  Schot- 
tische.  Lady 
to  the  right. 
Ge^ntleman 
left. 


3d  bar. 

Fling  step. 
Lady  left 
Gentleman 
right. 


4th  bar.         1 5th,  6th,  7th, 

First  phrase.*  ®*^*>a"- 
of  Schot-  Four  revel  u- 
tische.  Lady  tions  with 
left.  Gentle-i  the  aecond 
man  right.  phrase  of  the 
'    Schottische. 


This  succession  of  motions  is  continued  through- 
out the  dance. 


;?2^S^^ 


The  Fayor 


THE  GERMAN,  OR  COTILLION 

This  dance,  which  is,  as  its  name  implies,  of  Ger< 
man  origin,  has  been  rightly  pronounced  "  the  high- 
est evolution  of  the  art  of  dancing. "  Every  variety 
of  step  and  rhythm  may  be  introduced  at  the  option 
of  the  leader.  The  constant  interchange  of  partners 
renders  this  the  most  social  of  dances,  and  the  ele- 
ment of  refined  humor  entering  into  many  of  the 
figures  gives  an  additional  zest  to  the  enjoyment  of 
the  dance.  Any  one  can  dance  the  German  who  un- 
derstands the  round  dances  and  quadrille  figures. 

The  dancers  are  seated,  each  gentleman  having  his 
partner  at  his  right,  around  the  sides  of  the  room, 
leaving  the  floor  clear  for  the  execution  of  the  figures. 
After  dancing,  each  gentleman  conducts  the  lady 
with  whom  he  has  just  danced  to  her  place  beside 
her  partner,  and  then  returns  to  his  original  seat  and 
partner. 

The  German  is  always  under  the  supervision  of 
some  gentleman,  previously  engaged  to  act  as  leader, 

m 


1S2  Dancfn^ 

who  explains  and  directs  the  various  figures.  To  be 
a  successful  leader  requires  a  combination  of  tact, 
patience,  courtesy,  vivacity,  and  common  sense.  He 
must  know  exactly  what  programme  is  to  be  carried 
out,  and  arrange  all  the  details  beforehand  so  that 
there  may  be  no  delay  or  confusion.  It  is  his  place 
to  call  the  different  dancers  to  the  floor,  and  to  see 
to  it  that  no  one  is  neglected,  but  that,  so  far  as  pos- 
sible, all  have  an  equal  chance  to  enjoy  themselves. 
He  signals  to  the  musicians  when  the  music  is  to  be- 
gin, to  stop,  or  to  change  to  a  different  rhythm,  and 
to  the  dancers  when  they  are  to  stop  dancing  and  to 
return  to  their  seats.  These  signals  are  given  by 
clapping  the  hands,  or  by  blowing  a  whistle,  the  lat- 
ter being  the  favorite  method.  Castanets  are  some- 
times used  for  the  same  purpose.  The  figures  to  be 
danced  should  be  selected  with  reference  to  the  space 
available  for  dancing  and  the  number  of  guests  par- 
ticipating. A  "  property  room  "  should  be  placed  at 
the  disposal  of  the  leader,  where  he  will  collect 
everything  that  he  will  need  in  the  course  of  the 
evening.  He  should  make  out  a  programme,  giving 
the  figures  in  the  order  in  which  they  are  to  be 
danced,  with  the  properties  necessary  to  each  and 
the  number  of  dancers  required.  This  programme 
should  be  fastened  up  in  the  property  room,  where 
he  can  easily  refer  to  it 


TTbe  German,  or  CotUUon  133 

When  it  is  time  for  the  dance  to  begin,  the  leader's 
first  duty  is  to  seat  the  dancers  This  is  generally 
done  by  lot.  The  chairs  are  numbered  in  pairs. 
Each  couple  draws  a  card,  also  numbered,  and  seat 
themselves  in  the  chairs  whose  number  corresponds 
to  the  number  on  the  card.  It  is  in  every  way  de- 
sirable  that  there  should  be  an  equal  number  of 
ladies  and  gentlemen  participating.  In  case  there 
are  any  of  either  sex  who  have  no  partners,  they  are 
seated  at  the  end  of  the  line,  and  the  leader  will  see 
that  they  receive  a  due  share  of  attention  from  the 
others.  Favors  are  used  in  many  of  the  figures. 
These  generally  consist  of  little  trifles  made  of  bright- 
colored  ribbons,  tissue  paper,  tinsel,  etc.  They  may 
be  as  inexpensive  or  as  elegant  as  the  taste  and 
means  of  the  hostess  permit.  Cut  flowers  may  also 
be  used.  Those  favors  are  most  popular  which  can 
be  pinned  to  the  coat  or  dress  and  worn  as  decora- 
tions throughout  the  evening.  Two  tables  are  pro* 
vided,  one  for  the  gentlemen's  favors  and  one  fof 
those  designed  for  the  ladies.  The  leader  may  dis- 
tribute the  favors  himself,  but  it  is  more  customary 
to  invite  some  lady  to  preside  over  each  table.  Fa- 
vors may  be  used  in  any  figure,  and  should  be  used 
in  at  least  every  other  one. 

When  all  are  seated,  the  leader,  as  briefly  and 
tlearly  as  possible,  explains  the  figure  to  be  danced, 


134  •     2)ancfng 

and  calls  the  requisite  number  of  dancers  to  the 
floor,  beginning  at  the  head  of  the  line.  The 
couples  thus  designated  dance  once  around  the  room 
and  then  perform  the  figure  as  directed,  which  is  re- 
peated until  all  have  danced.  The  leader  should  be 
constantly  on  the  floor,  directing  and  assisting  where 
it  is  necessary  to  do  so.  He  should  exercise  the 
greatest  tact,  and  never  assume  the  manner  of  com- 
manding,  which  in  many  cases  might  prove  offensive. 

At  the  conclusion  of  the  dance,  the  leader  gen- 
erally stands  with  the  hostess  to  receive  the  adieux 
of  the  guests,  an  honor  certainly  due  to  the  one  upon 
whom  the  success  of  the  evening  chiefly  depends. 

It  is  the  duty  of  the  guests  to  cordially  second  the 
efforts  of  the  leader.  The  closest  attention  should 
be  given  when  he  is  explaining  a  figure,  and  all 
should  be  ready  to  enter  into  it  with  heartiness  and 
animation.  It  is  in  bad  taste  for  any  couple  to  get 
up  and  dance  on  their  own  account,  regardless  of  the 
figure  which  is  being  executed.  It  would  seem  as 
if  this  caution  should  be  unnecessary,  but,  unfortu- 
nately, observation  proves  that  even  among  well-bred 
people  there  are  occasionally  some  who  are  thought- 
less enough  to  offend  in  this  way.  In  such  cases 
the  leader  is  fully  justified  in  stopping  the  music 
and  kindly  but  decidedly  requesting  the  intruders  to 
return  to  their  seats.     Original   figures   are?   ofteij 


tibe  German,  or  CotllUon  135 

introduced  by  /eaders  who  have  skill  enough  to 
invent  them.  The  following  are  selected  from  the 
many  in  general  use  : 


FIGURES  BEGINNING  WITH  ONE  COUPLE 

1.  THE  WALTZ  FAVOR 

The  leader  and  his  partner  waltz  around  the  room. 
Both  then  select  favors  and  seek  new  partners,  to 
whom  they  present  the  favors,  pinning  them  to  the 
coat  or  dress.  The  two  couples  then  waltz,  se])arate, 
and  seek  new  partners  as  before.  This  is  repeated 
until  all  are  on  the  floor. 

2.  CHOICE 

The  gentleman  seats  his  partner  in  the  centre  of 
the  room,  then  presents  to  her  two  gentlemen.  The 
lady  selects  one  of  them  as  her  partner  and  dances 
with  him,  and  the  other  seats  himself  in  the  chair 
vacated  by  the  lady.  Her  partner  then  presents  to 
him  two  ladies,  with  one  of  whom  he  dances,  the 
presenting  gentleman  dancing  with  the  other. 

3.  EXCURSION 

The  gentleman  selects  two  ladies,  and  his  partner 
selects  two  gentlemen.  The  two  lines  of  three  stand 
facing  each  other  about  nine  feet  apart.     All  advance 


\36  Dancfnfl 

and  retire,  advance  again  ana  wince  with  opposite 
partners. 

4.  CHEAT 

The  lady  selects  four  other  ladies,  and  all  stand 
side  by  side  in  line.  The  gentleman  selects  five 
other  gentlemen,  and  all  join  hands,  pass  in  front 
of  the  ladies  and  around  behind  them,  facing  out  so 
as  to  be  back  to  back  with  them.  At  a  signal  the 
gentlemen  turn  quickly,  and  each  secures  the  nearest 
lady  for  u  partner.  As  there  are  five  ladies  and  six 
gentlemen,  one  of  the  latter  will  be  disappointed. 

5.  KANGAROOS 

The  lady  is  seated  in  the  centre  of  the  room.  Her 
partner  presents  to  her  several  gentlemen  whom  she 
successively  refuses.  The  rejected  gentlemen  place 
themselves  behind  the  lady's  chair.  When  she 
£nally  accepts  a  partner  and  dances  with  him,  the 
rejected  ones  follow  them,  each  placing  his  left  hand 
upon  the  shoulder  of  the  one  in  front  and  hopping 
on  one  foot 

6.  SERPENTINE 

The  lady  selects  four  or  more  other  ladies,  and  the 
gentleman  selects  one  more  gentleman  than  the 
Kiumber  of  ladies  selected.     The  ladies  form  in  line. 


Hbe  German,  ot  CotUUon  137 

one  behind  the  other  and  about  three  feet  apart 
The  gentlemen  form  a  line,  joining  hands.  The 
gentleman  at  the  head  of  the  line  leads  the  rest  in 
a  serpentine  course  in  and  out  between  the  ladies. 
At  a  signal  each  strives  to  secure  a  partner.  The 
one  failing  to  do  so  returns  to  his  seat. 

7.  THE  LOVE-KXOT 

The  gentleman  selects  two  ladies   and  the  lady 
selects  two  gentlemen.     The  two  hnes  of  three  each 
stand  facing  each  other,  as  shown  in  the  diagram. 
The  two    lines   advance   and 
retire    during    four   measures       ^  A  ^ 

of  music.     Then  the  leading     ^- /^ ^>^ 

lady  and  gentleman  (1  and  2)  i     V       J 

advance  alone, link  right  arms  /\  f  \y  f  A 
at  the  elbow,  turn  half  round  \/  ^^  V 
and   separate.      Then    No.    1       ^  /  •? 

joins  left  arms,  in  the  same  ^  ^ady  x  Gentleman 
way,  with  lady  No.  3,  and  No. 

2  joins  left  arms  with  gentleman  No  6  ;  both  couples 
make  a  complete  turn,  and  separate.  Nos.  1  and  2 
again  link  right  arms,  turn  hall  round,  and  separate ; 
No.  1  then  swings  No.  5  and  No.  2  swings  No.  4, 
turning  entirely  round,  and  separating.  This  re- 
stores all  to  original  position.  The  two  lines  advance 
and  each  gentleman  dances  with  his  vis-a-vU, 


138  Dandna 

8.  THE  ZIGZAGS 

The  first  couple  waltz,  finishing  at  the  head  of  the 
room.  Other  couples  form  in  column  behind  the 
first,  intervals  of  about  three  feet  being  left  between 
the  couples.  The  head  couple  waltz  in  a  zigzag 
course  in  and  out  between  the  other  couples,  and 
stop  at  the  end  of  the  line  about  three  feet  behind 
the  last  couple.  As  soon  as  the  first  couple  have 
danced  past  two  of  the  other  couples,  the  second 
couple  also  starts,  and  this  is  continued  until  all 
have  danced  the  zigzag  waltz,  at  which  point  the  first 
couple  will  again  be  at  the  head  of  the  column.  AU 
then  waltz  to  seats. 

9.  THE  CARDS 

The  leading  couple  dance  once  around  the  room. 

The  gentleman  then  takes  the  four  queens  from  a 

pack  of  cards  and  hands  them  to  four  ladies.     The 

lady,  at  the  same  time,  takes  the  four  knaves  and 

presents  them  to  four  gentlemen.     Each  gentleman 

then  seeks  as  partner  the  lady  holding  the  queen  of 

the  same  suit  as  his  knave,  and  all  four  couples 

dance. 

•     10.  THE  DOLL 

The  gentleman  leaves  his  partner  in  the  centre  of 
the  room,  and  gives  her  a  large  doll-baby.  He  then 
selects  three  gentlemen,  who  stand  facing  her.     The 


TCbe  Oerman,  or  CotfUfon  139 

lady  and  the  three  gentlemen  advance  and  retire, 
again  advance,  and  the  lady  gives  the  doll  to  one  of 
the  gentlemen,  and  selects  another  for  her  partner. 
The  third  gentleman  secures  a  partner,  and  three 
couples  dance.  The  gentleman  to  whom  the  doll 
was  given  must  also  dance,  holding  the  doll  in  hia 
arms. 

11.  THE  FORFEITS 

The  lady  carries  around  a  tray  or  a  hat,  receiving 
in  it  from  each  lady  a  pledge,  or  forfeit  (a  ring,  pin, 
handkerchief,  etc.).  The  tray  is  then  presented  to 
the  gentlemen,  each  of  whom  selects  one  article  and 
seeks  as  partner  the  lady  by  whom  the  pledge  waa 
given.    All  then  dance. 

12.  THE  HAT 

The  gentleman  leaves  his  partner  in  the  middle  of 
the  room,  and  gives  her  a  hat.  The  gentlemen  then 
form  a  circle  round  the  lady,  having  their  backs  to*| 
ward  her,  and,  joining  hands,  circle  rapidly  around 
to  the  left.  The  lady  places  the  hat  upon  the  head 
of  one  and  dances  with  him,  the  other  gentlemen  re- 
turning to  their  seats. 

13.  THE  SCARF 

The  lady  lenv93  her  partner  in  the  centre  of  tha 
room.     The  leader  g;ives  him  a  scarf  of  tarlatan  oi 


140  Dancfng 

veiling.  The  ladies  all  form  a  circle  around  tha 
gentleman,  turning  their  backs  to  him  and  joining 
hands.  They  then  circle  rapidly  to  the  left.  He 
places  the  scarf  on  the  shoulders  of  one,  and  dances 
with  her,  the  other  ladies  returning  to  their  seats. 
This  figure  is  the  counterpart  of  The  Hat 


14.  THE  BRIDGE 

The  lady  selects  another  lady,  and  the  two  stand 
in  the  centre  of  the  room  with  their  hands  joined 
and  raised  as  high  as  possible.  The  gentleman  then 
calls  up  other  gentlemen,  who  pass  under  this  bridge 
in  couples,  until  two  are  accepted  as  partners  by  the 
two  ladies,  who  lower  their  arms,  thus  capturing  the 
favored  ones.  The  rejected  gentlemen  either  seek 
other  partuers  or  return  to  seats. 

15.  THE  BROKEN  CIRCLE 

The  gentleman  leaves  his  partner  and  selects  two 
other  gentlemen,  who,  with  him,  form  a  circle  round 
the  lady  by  joining  hands.  The  gentlemen  then 
circle  rapidly  to  the  left.  At  a  signal,  the  lady 
selects  one  to  be  her  partner,  and  dances  with 
him,  the  other  two  gentlemen  dancing  together  to 
jpIacQ. 


The  Lighted  Taper 


iCbe  (3etman.  or  CoUUion  143 

la  CIRCLES  OF  THREE 

The  gentleman  chooses  two  ladies  and  the  lady 
chooses  two  gentlemen.  Each  three  forms  a  circle 
by  joining  hands,  and  all  circle  rapidly  to  the  left. 
At  a  signal  the  single  gentleman  in  one  circle  passes 
under  the  arms  of  the  two  ladies,  meeting  the  single 
lady  in  the  other  circle,  who  passes  simultaneously 
under  the  arms  of  the  two  gentlemen,  and  with 
whom  he  now  dances.  The  two  other  couples  also 
dance  to  place 

17.  THE  TAPER 

The  lady  stands  on  a  little  platform  or  pedestal  in 
the  centre  of  the  room,  holding  a  lighted  taper  in 
her  hand.  Her  partner  selects  two  other  gentlemen 
and  the  three  join  hands  facing  the  lady.  They 
then  advance  and  retire,  each  trying  as  he  approaches 
the  lady  to  blow  out  the  taper.  This  is  repeated 
until  one  is  successful.  He  then  dances  with  the 
lady,  and  the  other  gentlemen  seek  partners  with 
whom  they  dance. 

18-  THE  COQUETTE 

The  gentleman  seats  his  partner  in  the  centra  of 
the  room,  placing  a  cushion  at  her  feet.  He  then 
presents  several  gentlemen  tp  her,  successively,  re- 


144  Pancfng 

questing  each  one  to  kneel  upon  the  cushion.  When 
the  lady  wishes  to  refuse  to  dance  with  one  of 
them,  she  draws  the  cushion  away  as  he  attempts  to 
kneel,  but  when  the  favored  gentleman  appears  she 
allows  the  cushion  to  remain.  The  rejected  gentle- 
men form  in  line  behind  the  lady's  chair,  remaining 
there  until  she  has  chosen  a  cavalier,  when  their  own 
partners  come  to  the  rescue  and  dance  with  them. 

19.  THE  SIGNAL  OF  DISTRESS 

The  leader  calls  a  gentleman  to  the  centre  of  the 
floor  and  hands  him  a  bell  or  a  tin  horn.  The 
gentleman  must  ring  the  bell  or  blow  the  horn  until 
some  lady  volunteers  to  relieve  him  from  his  distress- 
ing position  by  dancing  with  him.  The  ladies,  by 
preconcerted  arrangement,  may  keep  him  in  sus- 
pense a  long  time,  or  may  plunge  him  into  still 
deeper  embarrassment  by  all  rising  simultaneously 
and  claiming  the  privilege  of  dancing  with  him. 

20.  COLUMNS 

The  gentleman  leaves  his  partner  in  the  middle  of 
the  room.  He  then  selects  a  gentleman  whom  he 
places  back  to  back  with  this  lady ;  he  then  selects 
a  lady  whom  he  places  facing  the  gentleman  just 


XTbc  German,  or  CotllUon  145 

chosen,  and  so  on  until  a  column  of  ten  or  twelve  is 
formed,  terminating  with  a  lady.  At  a  signal  all 
turn  and  dance  with  the  one  whom  they  are  thus 
tacing. 

21.  FLOWERS 

The  gentleman  selects  two  ladies  and  requests  each 
one  to  choose  the  name  of  a  flower.  He  then  pre- 
sents the  two  ladies  to  a  gentleman,  naming  the 
flowers  and  asking  him  to  select  one.  The  gentle- 
man dances  with  the  lady  whose  flower  he  has 
chosen,  and  the  presenting  gentleman  with  the  other. 


22.  REJECTED  COUPLES 

The  gentleman  kneels  on  one  knee  in  the  centre 
of  the  room.  His  partner  introduces  to  him  several 
couples  in  sue-  ^^ 

cession,  whom  <C'^>>  <^^  <r^^  <'^*^  <^''^ 

he  rejects.    As  s^    vy    yy     yy    \^^^  ^^^^ 

fast  as  rejected  /\     /\     /\     /\     y\ 
the    couples  *~ 

...  (}  Lady       X  Gentleman 

form    m    col- 
umn behind  him.     At  last  he  accepts  a  couple,  and 
dances  with  the  lady  around  the  room,  leaving  her 
partner  at  the  head  of  the  column.   His  own  partner 
takes  her  place  at  the  foot  of  the  column.     Having 


146  Bancing 

danced  around  the  room,  the  leading  gentleman 
restores  the  lady  with  whom  he  has  been  dancing  to 
her  partner,  who  dances  with  her  to  place.  The 
leading  gentleman  then  dances  with  the  next  iady, 
and  restores  her  to  her  partner,  who  dances  with 
her  to  place.  This  is  continued  until  he  has  danced 
with  each  lady  in  the  column,  when  he  dances  with 
his  own  partner  to  seats. 

23.  THE  CIRCLE  OF  DECEIVERS 

The  gentleman  selects  three  ladies,  whom,  with 
his  partner  he  places  about  five  feet  apart,  forming 
the  corners  of  a  square.  He  then  selects  four  gentle- 
men, and  with  them  forms  a  circle  of  five  within  the 
square.  Joining  liands,  the  gentlemen  circle  round 
to  the  left  with  great  rapidity.  At  a  signal  each 
endeavors  to  secure  *he  nearest  lady  as  a  partner. 
The  one  who  is  left  over  returns  to  his  seat. 

24.  PUSSY  WANTS  A  CORNER 

The  lady  leaves  her  partner  in  the  centre  of  the 
room.  Small  rugs  or  pasteboard  mats  are  placed  at 
intervals  of  eight  or  ten  feet  in  a  large  circle.  The 
lady  then  selects  other  ladies  whom  she  places,  one 
by  one,  on  the  pasteboard  "  goals."  All  using  the 
Two-Step,  the  ladies  now  endeavor  to  exchange  goals 
while  the  gentleman's  attention  is  diverted  to  some 


Ubc  ©erman,  or  CotUlfon  147 

other  part  of  the  circle.  He  constantly  strives  to 
secure  one  of  the  goals  while  it  is  tempDrariiy  de- 
serted, and  if  successful,  dances  with  the  lady  whom 
he  has  thus  intercepted.  The  other  ladies  are  joined 
by  their  own  partners,  and  all  dance  once  around  the 
room  and  then  to  seats.  This  figure  should  be 
undertaken  only  when  there  is  plenty  of  room  avail- 
able for  its  execution. 

25.  THE  BASKET  OF  SIX 

The  gentleman  selects  two  ladies  and  the  lad^  ^e- 
l^jcts  two  gentlemen.  Two  lines  of  three  are  formed, 
ttiG  leading  lady  and  gentleman  being  in  the  centre 
of  their  respective  line*.  The  two  lines  stand  facing 
each  other,  the  three  in  each  line  joining  hands.  All 
advance  and  retire,  advance  again  and  halt,  the  two 
lines  now  being  close  together.  The  leading  gentle- 
man, still  holding  the  hands  of  the  two  ladies,  raises 
both  arms,  and  the  two  gentlemen  in  the  other  line, 
still  holding  the  leading  lady's  hands,  pass  under. 
The  first  gentleman  lowers  his  arms,  and  the  two 
gentlemen  who  have  passed  through,  join  their  dis- 
engaged hands  behind  him,  while  the  two  ladies, 
who  are  still  holding  the  leading  gentleman's  hands, 
join  their  disengaged  hands  behind  the  leading  lady. 
Each  line  of  three  has  thus  become  a  ring,  the  two 
rings  being  linked  together.     The  leading  gentleman 


148  S^anctnfl 

then  steps  backward,  under  the  joined  hands  of  the 
other  two  gentlemen,  and  the  leading  lady  step? 
backward  under  the  joined  hands  of  the  other  two 
ladies.  The  six  thus  form  a  doable  ring,  or  "  bas- 
ket," with  their  arms  intertwined,  in  which  position 
they  circle  around  to  the  left.  All  then  disengage 
hands  and  perform  a  grand  chain  until  the  leading 
lady  and  gentleman  meet,  when  all  dance  or  prom- 
enade to  seats. 

26.  THE  RAFFLE 

The  leader  leaves  his  partner  seated  upon  a  chair 
in  the  middle  of  the  room.  He  then  selects  two 
gentlemen,  to  each  of  whom  1^  gives  a  large  paste- 
board die.  Each  throws  his  die  as  high  in  the  air  as 
possible,  the  one  who  makes  the  highest  throw  se- 
curing the  lady  for  a  partner,  while  tlie  other  sits 
down  in  her  chair.  Two  ladies  are  then  presented, 
who  raffle,  in  the  same  way,  for  the  privilege  of 
dancing  with  the  gentleman.  This  is  continued 
antil  all  have  participated. 


27.  THE  FAN 

The  leader  places  his  lady  in  the  centre  of  the 
room,  and  gives  her  a  fan.  He  then  presents  two 
gentlemen  to  her.    She  presents  the  fan  to  one  and 


XCbc  (Bcrman,  or  dotniton  149 

dances  with  the  other.  The  one  receiving  the  fan 
must  follow  the  dancing  couple  around  the  room, 
inning  them  all  the  time. 

28.  THE  UMBRELLA 

This  is  the  counterpart  of  the  Fan  figure.  The 
gentleman  to  whom  ihe  umbrella  is  given  must  open 
it  and  try  to  carry  it  over  the  heads  of  the  dancing 
couple, 

29.  THE  KNOTTED  HANDKERCHIEF 

The  lady  is  left  in  the  middle  of  the  room.  She 
ties  a  knot  near  one  corner  of  a  handkerchief,  and 
then  gathers  the  four  corners  together,  allowing 
them  to  project,  but  being  careful  that  the  knot  is 
not  visible.  Her  partner  now  presents  four  gentle- 
men, each  of  whom  takes  hold  of  one  corner  of  the 
handkerchief.  The  lady  lets  go  of  the  handkerchief, 
and  the  gentleman  who  has  been  fortunate  enough 
to  select  the  knotted  corner  dances  with  her,  while 
the  other  three  seek  partners  elsewhere. 

30.  THE  BASKET,  RING,  AND  FLOWER 

The  gentleman  gives  to  his  partner  a  basket  con- 
taining a  flower  and  a  ring.  He  then  presents  to 
her  three  gentlemen.  To  one  she  gives  the  flower, 
t9  another  the  ring,  and  to  the  third  the  basket, 


150  2>anc!ng 

The  one  receiving  the  flower  dances  with  the  lady ; 
the  recipient  of  the  ring  has  the  privilege  of  select- 
ing a  partner;  the  one  to  whom  the  basket  waa 
given  must  dance  alone  with  the  basket  in  his  hands. 

31.  THE  SCREEN 

The  leader  selects  a  number  of  ladies,  placing 
them  behind  a  screen.  He  then  selects  an  equal 
number  of  gentlemen.  The  ladies  project  their 
hands  above  the  screen,  and  each  gentleman  takes 
possession  of  a  hand,  dancing  with  the  lady  thus 
selected. 

32.  THE  MASKS 

The  leader  selects  a  number  of  gentlemen  who  re- 
tire behind  a  screen  and  there  assume  masks.  They 
then  poke  their  heads  above  the  screen,  and  an 
equal  number  of  ladies,  selected  by  the  leader,  choose 
partners  from  the  interesting  group. 

33.  PARALLEL  CHAIRS 

Two  rows  of  chairs  are  placed  back  to  back,  six  in 
each  row.  The  leader  seats  his  partner  and  selects 
five  other  ladies,  whom  he  seats  in  alternate  chairs, 
leaving  a  vacant  chair  on  each  lady's  left.  He  then 
selects  six  gentlemen  with  whom  he  forms  a  chain 
by  joining  hands,  and  conducts  them  very  rapidly 


XLhc  German,  or  CottUton  151 

through  any  evolutions  which  his  fancy  may  sug- 
gest, ending  his  eccentric  movements  by  winding 
around  the  chairs  in  which  the  ladies  are  seated.  At 
a  signal  he  sits  down  quickly  in  one  of  the  vacant 
chairs,  the  others  do  the  same,  and  the  gentleman 
who  is  left  out  in  the  cold  returns  to  his  own  seat. 
Each  g6ntleman  then  dances  with  the  lady  at  his 
right. 

34.  TWO  WINDMILLS 

Two  poles  are  provided  for  this  figure.  To  the 
top  of  each  are  fastened  five  long  ribbon  streamers 
of  different  colors,  those  attached  to  one  pole  being 
exactly  like  those  fastened  on  the  other.  The  lady 
takes  one  pole  and  selects  five  gentlemen,  each  of 
whom  takes  the  end  of  a  ribbon  in  his  hand.  The  gen- 
tleman takes  the  other  pole  and  requests  five  ladies 
to  take  hold  of  the  five  ribbons.  The  leaders  stand 
a  little  distance  apart,  so  that  those  holding  the  ends 
of  the  ribbons  can  revolve  around  their  respective 
poles,  which  they  do  once,  after  which  each  gen- 
tleman dances  with  the  lady  who  holds  the  ribbon 
corresponding  to  his  own. 

35.  BLIND  MAN'S  BUFF 

Three  chairs  are  placed  in  a  line  in  the  centre  of 
the  room,  the  middle  one  facing  one  way  and  the 


152  Daticmg 

others  in  the  opposite  direction.     The  leader  selecta 

a  gentleman,  whom  he  blindfolds  and  seats  in  the 

middle  chair.     The  lady  selects  a  gentleman  whom 

she  leads,  walking  on  tip-toe,  to  one  of  the   other 

chairs,  and   then  seats   herself   in  the   third.     The 

leader  then  asks  the    blindfolded  man  with  which 

he  will  dance,  the  person  on  his  right  or  the  one  on 

his  left?     If  fortunate  enough  to  select  the  lady  he 

dances  with  her.     If  he  indicates  the  gentleman  /ie 

must  waltz  with  him,  while  the  lady  dances  with  her 

partner. 

36.  THE  ORACLE 

A  book  is  prepared  in  which  are  written  sucb 
answers  as,  "  Certainly  not,"  "  Many  thanks,"  "  Why, 
of  course,"  "  I  never  dance,"  "  Some  other  time,"  "  If 
you  insist  upon  it,"  "  With  pleasure,"  "  No,  thank 
you,"  etc.  This  book  and  a  paper-knife  are  handed 
to  a  lady.  Several  gentlemen  are  then  presented 
successively  to  her,  and  each  one  asks  her  to  dance 
with  him.  She  hands  him  the  paper-knife,  which 
he  inserts  at  random  between  the  leaves  of  the  book 
and  there  finds  his  answer.  When  a  partner  is  ac- 
cepted the  book  and  knife  are  handed  to  another 
lady. 

37.  FOUR-IN-HAND 

Two  sets  of  ribbons  are  required  for  this  figure. 
In  each  set  are  four  ribbons,  joined  at  one  end.    The 


Zbc  (3crman,  or  Cotdlion  153 

lady  takes  one  set,  and  holding  the  joined  ends,  se- 
lects four  gentlemen,  to  each  of  whom  she  gives  the 
end  of  a  ribbon.  The  gentleman  in  the  same  way 
selects  four  ladies,  to  each  of  whom  he  gives  an  end 
of  the  ribbons  in  his  set.  The  leaders  now  drive 
their  four-in-hands  around  the  room  in  opposite  di- 
rections. When  the  fours  meet,  they  break  away 
from  their  drivers  and  dance  together. 

FIGURES  BEGINNING   WITH   TWO  COUPLES 
38.  BASKET  OF  TWELVE 
Each  lady  selects  fs^^^^^-^^^^ 

two  ladies  and  each  /vj  l^^ 

gentleman  selects  -  i^ \  \ 

two  gentlemen.  The  /  ?f^    "\\         \ 

six   gentlemen  join        -^       -  *■*  -  -        ^ 

hands,  forming  a 
circle  facing  out- 
wards.     T  h  e   s  i  X 

ladies  form  a  circle  V^  I    J 

surrounding   and  U^^--" — ^-'^vl 

facing    the    gentle-  ^^^^'  X  Gentleman 

men.  The  gentlemen  circle  around  to  the  right  and 
the  ladies  to  the  left.  At  a  signal,  the  ladies  raise 
their  arms,  allowing  the  gentlemen,  still  retaining 
hold  of  hands,  to  pass  under,  thus  forming  a  basket. 


\  V-f-  ,/ 


154  Bancing 

In  this  position  all  circle  around  to  the  left  once ;  then, 
releasing  hands,  execute  a  grand  chain  once  around^ 
and  waltz  to  seats. 

39.  CHANGE  OF  LADIES 

The  two  couples  waltz  around,  gradually  approach 
each  other,  exchange  partners  without  losing  time 
or  step,  waltz  around  with  changed  partners,  again 
approach,  again  exchange  partners,  waltz  around 
once  more  and  then  dance  to  seats. 

40.  THE  PHALANX 

The  first  lady  selects  two  gentlemen  and  stands  up 
between   them   in    line,  joining   hands.     The    first 

OA        gentleman    selects  two   ladies, 
y^  (  )      and   standing    between   them, 
OA  forms  a  line  behind  the  other 

/\  (  y  ^      three.     The   second  lady  and 
OA        gentleman  do  the  same,  form- 
y^  (  )      ing   four   lines  of   three  each. 
OA  The    two    gentlemen    of    the 

y<C  (/  y^      first  row  join  their  disengaged 
hands,  forming  an  arch  above 
ay  en  eraan      ^^^  head  of  the  lady  between 

them.  The  two  gentlemen  of  the  third  line  do  the 
same.      The  two  ladies   in   the   second  and  fourth 


Jibe  (3crman,  or  CotUUon  155 

iines  join  their  disengaged  hands  over  the  heads  of 
the  gentlemen  in  their  respective  lines.  All  march, 
in  this  position  around  the  room,  keeping  close 
together.  Then  the  first  line  turns  facing  the  second 
and  the  third  line  turns  facing  the  fourth,  and  each 
gentleman  dances  with  his  vis-a-vis  to  place. 

41.  THE  LADIES'  MOULINET 

Each  gentleman  selects  a  lady  and  each  lady 
selects  a  gentleman.  The  eight  form  a  circle,  joining 
hands^  and  all  circle  to  the  left  during  eight  meas- 
ures, when  they  separate  in  couples,  taking  positions 
as  for  the  Lancers.  The  ladies  now  join  right 
hands,  forming  the  moulinet,  the  gentlemen  remain- 
ing iu  place.  The  ladies  move  entirely  around  and 
turn  their  partners  with  the  left  hand.  The  moulinet 
is  then  repeated,  but  this  time,  instead  of  turning 
their  partners,  the  ladies  move  on  and  turn  the  next 
gentleman.  This  is  repeated  until  each  lady  returns 
to  her  own  partner,  when  all  waltz. 

42.  THE  TURNING  HAT 

The  two  couples  waltz.  One  gentleman  holds  a 
hat  in  his  left  hand,  and  the  other  holds  in  his  left 
hand  a  pair  of  gloves  or  a  handkerchief,  which  he 
tries  to  throw  into  the  hat  while  waltzing  without 
losing  time  or  step. 


156  Dancing 


43.  INVOLUTION 


Each  gentleman  selects  another  gentleman,  with 
whom  he  waltzes.  Each  lady  selects  another  lady 
with  whom  she  waltzes.  At  a  signal  all  halt  and 
form  two  rings  side  by  side,  the  four  gentlemen  com- 
posing one  ring  and  the  four  ladies  the  other.  The 
two  gentlemen  nearest  to  the  ladies'  ring  raise  their 
joined  hands,  and  the  two  ladies  nearest  them  also 
raise  their  joined  hands,  thus  forming  an  archway. 
The  two  remaining  ladies,  retaining  hold  of  hands, 
pass  under  the  double  arch  and  draw  the  other  two 
ladies  after  them  into  the  inside  of  the  gentlemen's 
ring.  This  will  bring  the  ladies  with  their  backs  to 
each  other  and  facing  the  gentlemen.  The  double 
ring  is  then  dissolved,  and  each  gentleman  dances 
with  the  lady  opposite  him. 

44.  THE  ROYAL  ARCH 

Each  lady  selects  a  gentleman  and  each  gentleman 
selects  a  lady.  The  four  couples  form  as  for  a  quad- 
rille. The  four  ladies  join  right  hands  in  the  centre, 
circle  half  way  around  to  the  left,  disengage  right 
hands,  join  left  hands  with  opposite  gentleman  and 
swing  half  around.  This  movement  is  repeated,  re- 
storing the  ladies  to  their  original  places.     The  two 


^be  (Bcrman,  or  Cotlllfon  157 

head  gentlemen  advance  two  steps  towards  centre  oi 
set,  facing  each  other.  The  four  ladies  join  hands, 
thus  forming  a  circle  around  a 

the  two  gentlemen.     The  side       X^''\/^^^ 
gentlemen    remain    in    place.         /  \y  \ 

The  gentlemen  inside  the  cir-     ,^X^     \^       ^-^^^ 
cle  extend  their  arms  over  the        ^"^  ^\y  j 

ladies'  arms,  each  giving  one         ^\^     A^     X   . 
hand  to  each  of  the  side  gen-  \/ 

tlemen,  the  arms  being  raised 

^      .        '        ,       ,  -  ,  ,  0  Lady     x  Gentleman 

to  form  a  double  arch  on  each 

side.     The  ladies  circle  around  to  the  left  under  the 

arches  until  each  regains  her  original  place,  when  all 

waltz. 

45.  THE  RHYMES 

Each  gentleman  presents  to  his  partner  two  other 
gentlemen.  She  addresses  some  remark  to  them, 
and  the  one  who  can  first  make  a  reply  rhyming 
with  her  speech  has  the  privilege  of  dancing  with 
her,  the  other  returning  to  his  seat. 


46.  THE  DOUBLE  WINDMILL 

Each  lady  and  each  gentleman  chooses  a  new 
partner,  and  the  four  couples  form  as  for  a  quad- 
rille. The  four  ladies  advance,  cross  right  hands, 
and  circle  half  around  to  the  left.     At  the  same  time 


158  Dancltifl 

l;he  gentlemen  walk  half  way  around  to  the  right 
thus  meeting  their  partners  on  the  opposite  side  of 
the  set.  The  ladies  drop  right  hands,  and  turn 
partners  with  left  hands.  The  gentlemen  now  cross 
light  hands  in  the  centre  and  circle  half  around  to 
the  left,  the  ladies  walking  around  to  the  right  till 
partners  meet  in  original  positions,  when  they  turn 
each  othefj  with  left  hands,  to  place.     All  then  waltz 

47.  GRAND  SCOTCH  CHAIN 

Each  lady  selects  a  gentleman  and  each  gentle- 
man selects  a  lady,  and  the  four  couples  form  as  foi 
a  quadrille.  The  two  head  gentlemen  advance,  lock 
right  arms,  swing  once  and  a  half  round,  disengage 
arms,  lock  left  arms  with  opposite  lady,  swing  half 
round  and  remain  on  that  side  of  the  set.  This 
movement  is  repeated  by  the  side  gentlemen,  then 
by  the  head  ladies,  then  by  the  side  ladies ;  aftei 
which  all  waltz. 

48.  KNEELING  KNIGHTS 

Each  lady  selects  a  gentleman  and  each  gentleman 
selects  a  lady,  the  four  couples  forming  as  for  a  quad- 
rille. The  four  gentlemen  kneel.  The  four  ladies 
join  right  hands  in  the  centre  and  dance  around  to 
the  left,  each  passing  her  partner  and  giving  hei 


The  Kneeling  Knight 


^bc  ©erman,  or  Cotillion  1(J1 

hand  to  the  next  gentleman.  The  ladies  disengage 
their  right  hands  and  each  dances  once  around  the 
kneeling  gentleman  whose  hand  she  holds  with  her 
left.  The  ladies  again  join  right  hands,  and  these 
movements  are  repeated  until  each  lady  has  danced 
around  her  own  partner,  when  all  waltz. 

49.  KINGS 

Each  lady  selects  a  gentleman  and  each  gentleman 
selects  a  lady,  the  four  couples  forming  as  for  a  quad- 
rille. Head  couples  join  hands  in  centre  of  set,  thus 
forming  a  ring,  and  revolve,  stopping  with  their  backs 
to  the  side  couples.  In  this  position  the  First 
Couple  passes  under  the  arms  of  the  Second  Couple. 
The  First  and  Third  Couples  now  are  facing  and 
form  a  ring,  while  the  Second  and  Fourth  Couples 
do  the  same.  Both  rings  revolve  once,  when  the 
Third  and  Fourth  Couples  pass  under  the  arms  of 
the  other  couples  and  form  ring  in  centre  of  the  set. 
This  leaves  the  Head  Couples  o.t  the  sides.  The 
ring  now  revolves  once,  and  the  Third  Couple  passes 
under  the  arms  of  the  Fourth  and  takes  First 
Couple's  place,  the  Fourth  Couple  stepping  to  Sec- 
ond Couple's  place.  The  new  Head  Couples  now 
iance  the  Right  and  Left  with  the  couple  at  the 
right,  which  restores  all  to  ori^^inal  positiouc  AD 
dance* 


162  2>ancm0 

50.  QUADRILLE 

Each  lady  and  each  gentleman  selects  a  neif 
partner,  and  the  four  couples  form  as  for  a  quadrille. 
The  four  ladies  cross  right  hands  in  the  centre  and 
promenade  half  round.  Each  gives  left  hand  to 
opposite  gentleman,  turns,  and  remains  by  his  side. 
The  four  gentlemen  now  join  right  hands  and  prom- 
enade half  round.  Then  each  gives  left  hand  to 
partner  and  turns.  This  leaves  partners  together, 
but  occupying  a  position  opposite  to  their  original 
places  in  the  set.  The  Head  Couples  now  dance 
half  right  and  left  ifj  places.  The  sides  do  the  same. 
All  dance. 

51.  THE  TWISTED  HANDKERCHIEF 

The  two  gentlemen  hold  a  handkerchief  by  oppo- 
site corners,  in  their  left  hands,  lifting  it  up  high. 
The  two  couples  then  waltz  until  the  handkerchief 
is  twistM  tight. 

52.  ROUNDS  OF  FOUR 

F^ch  gentleman  selects  a  gentleman  and  each 
briy  selects  a  lady.  The  four  gentlemen  form  a 
circle  at  one  end  of  the  room  and  the  ladies  do  the 
same  at  the  opposite  end.  Both  rings  circle  around 
to  the  left.     At  a  signal  the  first  gentleman  and  hia 


XTbe  (5crman,  or  CottlUon  163 

companion  pass  under  the  arms  of  the  other  two 
gentlemen  and  advance  to  meet  the  first  lady  and 
her  companion,  who  have  simultaneously  executed 
a  similar  movement.  These  form  a  ring  and  circle 
round  once,  when  the  two  ladies  pass  under  the 
arms  of  the  gentlemen  and  move  on  to  execute  the 
game  movements  with  the  second  gentleman  and  hia 
companion,  while  the  first  gentleman  and  his  com- 
panion execute  the  same  movements  with  the  seconci 
lady  and  her  companion.  These  movements  are 
again  performed  by  the  second  lady  and  second 
gentleman  with  their  respective  companions.  This 
will  bring  the  four  ladies  together  at  the  end  of  the 
room  originally  occupied  by  the  gentlemen,  and 
vice  versa.  Each  four  again  forms  a  ring  and  circles 
around  to  the  left,  then  form  in  line  facing  the 
opposite  four.  The  two  lines  advance,  and  each 
gentleman  dances  with  theJady  opposite  him. 

FIGURES    REQUIRING   THREE  COUPLES  TO 

LEAD 

53.  THE  PYRAMID 

The  three  ladies  each  select  another  lady,  and  the 
six  form  a  pyramid.    See  page  164, 

The  three  gentlemen  each  select  another  gentle- 
man   and   the   six   join   hands   in   line.     The   first 


C>     0     0 
0     0 


164  Banctnd 

gentleman  leads  this  line  around  the  first  lady,  then 
wound  the  two  who  stand  back  of  her,  then  around 

the  line  of  three. 
The  movement  is 
then  reversed,  con- 
tinuing until  the 
first  gentleman  is 
again    facing  the 

0  first  lady,  when 

each  gentleman 
^^^^  takes  the  nearest 

lady  for  a  partner  and  all  dance. 


54.  THE  CHANGING  STAR 

Each  lady  selects  a  gentleman  and  each  gentle- 
man selects  a  lady.  The  second,  fourth  and  sixth 
gentlemen,  holding  their  partner's  left  hands  in  tlieir 
right,  form  a  moulinet  by  joining  left  hands,  and  all 
six  revolve  slowly  to  the  left.  At  the  same  time 
the  first,  third  and  fifth  gentlemen,  with  their  part- 
ners, waltz  around  to  the  right  in  the  space  between 
each  of  the  gentlemen  in  tlie  moulinet  ?.nd  his  part- 
ner and  under  their  raised  arms.  At  a  signal,  those 
who  have  been  waltzing  form  the  moulinet,  and  thf 
others  waltz. 


TTbc  (Berman,  or  Cotillion  165 


65.  THE  PUESUIT 

Three  couples  waltz,  and  the  leader,  who  is  not 
dancing,  calls  three  other  gentlemen  to  the  floor,  to 
act  as  rovers  and  rob  the  dancing  gentlemen  of  their 
partners.  A  rover  gets  in  front  of  a  dancing  couple 
and  claps  his  hands,  when  the  gentleman  must  re- 
linquish his  partner.  He  immediately  seeks  to  in- 
demnify himself,  however,  by  securing  one  of  the 
other  ladies  in  a  similar  manner.  If  entered  into 
with  spirit  and  animation,  this  figure  is  very  amus- 
ing, the  gentlemen  being  forced  to  give  up  partners 
almost  as  soon  as  they  secure  them. 

56.  REVERSED  ROUND 

The  three  ladies  stand  in  line,  a  little  separated 
from  each  other,  the  first  lady  at  the  right-hand  end 
of  the  line.  The  three  gentlemen  join  hands,  the 
first  gentleman  on  the  left,  and  pass  to  the  left  in 
front  of  the  ladies.  They  then  form  a  circle  around 
the  first  lady,  making  a  complete  turn  to  the  left. 
When  the  first  gentleman  again  emerges  between  the 
first  and  second  ladies,  he  drops  the  hand  of  the 
second  gentleman,  and  they  form  a  ring  around  the 
second  lady,  all  facing  outward,  and  making  one  full 
revolution.     In  a  similar   way  they   form  a  ring 


166  S>ancina 

around  the  third  iady,  all  facing  in,  and  malting  a 
complete  turn.  After  this  the  gentlemen  again  pass 
in  line  in  front  of  the  ladies  until  each  faces  his  own 
partner,  when  all  waltz  to  seats. 


57.  THE  ARBOR 

The  three  ladies  each  select  a  gentleman,  and  the 
three  gentlemen  each  select  a  lady.  The  six  couples 
arrange  themselves   in  two  concentric  circles,  with 


A ~-^^ 


three  couples  in  each, 

the  inner  circle  facing 

y'        ^t^^Y^         \         ^^*  ^^^  *h^  outer  cir- 

f         /^  ^\  \       ^^^  facing   in.      Both 

JL-       Ji  x\/       3v     circles  revolve,  and 

^       X^  7^      \/*  stop  with  each  gentle- 

V  ^Itf-       Py''  J  ^^^  facing  a  lady. 

\        '^     *^  /  The  gentlemen  in  both 

Y^  ^^^  circles    join    hands 

U^"^" ^"'1  above   and   all  the 

OLady        X  Gentleman  j^^.^^    .^.^    ^^^^^   ^^_ 

low,  the  gentlemen  raising  their  arms  so  that  the 
ladies  can  pass  under.  The  ladies  now  dance 
around  in  the  space  between  the  two  rows  of  gentle- 
men. At  a  signal,  the  gentlemen  lower  their  arms 
and  dance  with  the  partners  whom  they  have  thus 
captured. 


xrbe  (5crman,  or  Cotillion  167 

58.  THE  HANDKERCHIEF  CHASE 

The  gentlemen  conduct  their  ladies  to  the  centre 
of  the  room.  The  leader  now  selects  one  more 
gentleman,  and  the  four  form  a  circle  around  the 
ladies,  joining  hands  and  facing  out.  They  then 
circle  rapidly  around  to  the  left.  At  a  signal  the 
ladies  toss  their  handkerchiefs  into  the  air,  and 
each  gentleman  tries  to  secure  one,  and  if  successful 
dances  with  its  possessor.  The  one  who  is  disap- 
pointed returns  to  his  seat. 

FIGURES    REQUIRING    FOUR  OR  MORE 
COUPLES 

59.  THE  TWO  CIRCLES 

Four  couples  dance,  and  at  a  signal,  each  lad^ 
selects  another  lady  and  each  gentleman  selects 
another  gentleman.  The  gentlemen  form  a  circle, 
with  the  leading  lady  in  the  centre,  and  the  ladies 
form  a  circle  with  the  leading  gentleman  in  the 
centre.  Both  circles  revolve  to  the  left,  the  dancers 
holding  their  hands  high.  At  a  signal,  the  leading 
lady  and  gentleman  each  select  a  partner  and  dance. 
The  others  in  each  circle  immediately  form  in  line, 
the  two  lines  facing  each  other.  All  forward  and 
back,  forward  again,  and  each  gentleman  dances 
with  opposite  lady. 


168  Danctnd 

60.  THE  GRAND  ROUND 

Four  couples  dance,  and  then  each  lady  selects 
another  lad}^  and  each  gentleman  selects  another 
gentleman.  The  sixteen  dancers  form  a  circle,  the 
gentlemen  forming  one  half  of  it  and  the  ladies  the 
other  half,  the  leading  gentleman  being  next  to  his 
partner.  All  join  hands  and  circle  around  to  the 
left.  Still  retaining  hold  of  hands,  the  first  lady 
and  gentleman  advance  across  the  circle  and  pass 
under  the  raised  arms  of  the  opposite  lady  and 
gentleman.  When  outside  the  circle,  the  leading 
couple  unclasp  hands  and  the  gentleman,  drawing 
the  other  gentlemen  after  him,  turns  to  the  left  and 
passes  around  outside  the  circle,  the  lady  at  the 
same  time  turning  to  the  right  and  drawing  the 
other  ladies  after  her.  When  the  leading  couple 
again  meet,  they  dance  together  to  place,  and  each 
successive  couple  does  the  same. 

61.  THE  CHRISTMAS  TREES 

Two  small  Christmas  trees  are  provided,  Aung 
with  duplicate  gifts.  The  gifts  on  one  tree  are  dis- 
tributed to  the  ladies  and  those  on  the  other  are  dis- 
tributed to  the  gentlemen.  Each  gentleman  then 
seeks  as  a  partner  the  lady  whose  present  is  the 
duplicate  of  his  own. 


Cbe  (3ccman,  or  Cotillion  169 

62.  THE  INCONSTANTS 

Four  couples  are  arranged  in  a  column.  The 
bead  gentleman  turns  around  and  links  left  arms 
with  the  gentleman  behind  him,  with  whom  he 
changes  place.  He  continues  this  movement  until 
he  reaches  the  front  of  the  column,  where  he  stops. 
The  second  gentleman  (now  at  the  head)  performs 
the  same  figure,  and  each  of  the  other  gentlemen  in 
turn  does  the  same,  until,  finally,  all  have  regained 
their  own  partners.     Then  all  dance. 

63.  COUNTRY  DANCE 

Four  couples  form  as  for  a  quadrille.  The  first 
couple  lead  off  b}^  waltzing  around  the  third  couple, 
then  around  the  second,  then  around  the  fourth,  and 
back  to  place.  The  same  figure  is  then  executed  by 
the  second,  third,  and  fourth  couples  successively, 
after  which  all  waltz  around  the  room. 

64.  STAR  AND  CIRCLE 

Four  couples  waltz  around.  Then  each  dancer 
selects  a  new  partner,  and  two  lines  are  formed,  with 
four  couples  in  one  line  facing  four  couples  in  the 
other.  The  four  ladies  belonging  to  the  two  couples 
in  the  middle  of  each  line  cross  right  hands,  forming 
a  moulinet,  and  swing  entirely  around  to  the  right; 


170  Dancftig 

then  cross  left  hands  and  swing  around  to  the  left 
The  eight  gentlemen  now  join  hands,  forming  a  cir« 
cle  around  these  four  ladies,  who  still  have  their  left 
hands  crossed.     The  other  four  ladies  now  advance 

and  each  gives  her 
left  hand  to  the 
right   hand  of  one 

^    J>^  f     Y         -VL  ing  the  moulinet 

'^./^j^^^  _j^__^^«v^l_^<s.       their  arms   bein^ 

>^  ]       /\' ^^"^^^     lifted  high  above 

^j^r^Y^Jx^  gentlemen.     This 

•  formsastarof 

ladies  and  a  circle 

of  orentlemen.     The 

0  Lady  x  Gentleman  " 

gentlemen  swing 
around  to  the  right  under  the  uplifted  arras  of  the 
ladies,  who  at  the  same  time  move  around  to  the 
left.  At  a  signal,  the  gentlemen  regain  partners,  and 
all  waltz.  To  vary  this  figure,  the  gentlemen  may 
form  the  star  and  the  ladies  the  circle. 


65.  LITTLE  ROUNDS 

Four  couples  dance.     Then  each  gentleman  selects 
another  gentleman  and   each   lady  selects  another 


i: 

,y^\^  K  '\  ^\  of  the  ladies  form- 

■^  Y     ^ 

Oto-4-o-lo  !';f/r\  ,!"' 

^\/  i      /     \/^  ^^  lifted  high  above 

A        ^   i  the  heads  of  the 


JLbc  (Bcrman,  or  Cottllton  171 

lady.  The  gentlemen  place  themselves  two  by  two, 
one  pair  behind  another,  leaving  a  space  of  about 
four  feet  between  the  pairs.  The  ladies  form  in  the 
same  manner,  but  face  in  the  opposite  direction,  so 
that  the  first  two  gentlemen  in  one  column  face  the 
first  two  ladies  in  the  other.  The  first  two  gentle- 
men and  first  two  ladies  join  hands  and  turn  to  the 
left,  making  a  complete  circle;  without  stopping, the 
two  gentlemen  raise  their  arms,  thus  allowing  the 
two  ladies  to  pass  under.  The  first  pair  of  ladies  is 
now  face  to  face  with  the  second  pair  of  gentlemen, 
and  the  first  pair  of  gentlemen  faces  the  second  pair  of 
ladies.  The  same  movements  are  repeated  until  the 
ends  of  the  columns  are  reached.  As  they  pass  out 
of  the  end  of  the  column  the  gentlemen  form  a  line 
at  right  angles  with  the  original  column.  The  ladies 
do  the  same,  and  the  two  lines  stand  facing  each 
other.  All  then  forward  and  back,  forward  again, 
and  each  gentleman  dances  with  the  lady  opposite 
to  him. 

66.  CAPTIVES  RELEASED 

Four  couples  dance,  after  which  each  dancer  se- 
lects a  new  partner.  The  eight  couples  then  join 
hands,  forming  a  circle.  All  forward  and  back,  for- 
ward again  and  stop,  letting  go  of  hands.  The 
kidies  now  join  hands,  thus  forming  an  inner  circle. 


172  Danclna 

Then  the  gentlemen  join  hands  and  pass  their  arma 
in  front  of  the  ladies,  thus  forming  a  basket.  Thus 
entwined  all  dance  once  around  to  the  left.  The 
first  gentleman  and  the  first  lady  each  release  the 
hand  of  the  person  at  their  right.  The  circle,  thus 
broken,  is  then  changed  to  a  straight  line,  the  leader 
and  his  partner  stepping  backward  until  this  position 
is  reached.  The  gentlemen  then  raise  their  arms, 
thus  releasing  the  ladies,  who  run  forward,  followed 
by  the  gentlemen.  On  reaching  the  end  of  the  room 
the  ladies  turn  and  each  dances  with  the  opposite 
gentleman. 

67.  OPPOSING  COLUMNS 

Four  couples  dance,  after  which  each  lady  selects 
another  lady  and  each  gentleman  selects  another 
gentleman.  "*  The  eight  gentlemen  and  eight  ladies 
now  arrange  themselves  in  columns,  as  in  the  "  Little 
Rounds."  At  a  signal  each  gentleman  in  the  first 
pair  gives  his  right  hand  to  the  lady  opposite  to 
him,  passes  her  and  gives  his  left  hand  to  the  lady 
next  behind  her,  and  so  on  to  the  end  of  the  column. 
The  ladies  have  been  passing  right  and  left  through 
the  gentlemen's  column  in  the  same  manner,  until 
the  two  columns  are  combined  and  every  gentleman 
has  a  partner.     Then  all  dance. 


XTbc  <5crman,  or  Cotillion  173 

68.  GENTLEMEN  CHEATED 

Four  couples  dance,  after  which  the  ladies  place 
themselves  one  in  each  corner  of  the  room.  The  four 
gentlemen  each  select  another  gentleman  and  the 
eight  join  hands  and  circle  round  one  of  the  ladies. 
She  selects  one  of  them  as  her  partner.  The  remain- 
ing seven  then  circle  around  another  lady,  who  also 
makes  her  choice.  Then  six  dance  around  the  third 
lady,  and  when  she  has  chosen  her  partner  the  re- 
maining five  circle  around  the  fourth  lady.  When 
she  has  made  her  selection  the  four  remaining  gen- 
tlemen pair  off  and  dance  together. 

69.  MOULINET  AND  RINGS 

Four  couples  dance, 
after  which  each  dan- 
cer selects  a  new  part-  ^       >. 
ner.     The  ladies  of  the  ^        ^ 
original    four   couples 

join  right  hands,  thus  ><^>0--i  •<>K<>X 
forming  a  mbulinet,  at 
the  same  time  retain- 
ing in  their  left  hands 
the  right  hands  of  the 
new  partners  whom 
they    have    selected.  q  Lady       x  GeuticmMi 


174  Dancftifl 

Then  the  four  other  ladies  give  their  right  hands  to 
the  left  hands  of  the  gentlemen  in  the  moulinet,  and 
at  the  same  time  retain  the  hands  of  their  partners. 
This  brings  two  couples  in  line  in  each  wing  of  the 
moulinet.  The  moulinet  revolves  once,  then  breaks 
into  four  rings,  and  each  ring  turns  once  to  the  left. 
The  gentlemen  then  cross  hands  in  the  centre  and 
form  the  moulinet  reversed.  Turn  once,  and  break 
into  four  rings  as  before.  Then  dance  the  right  and 
left,  as  in  the  Spanish  dance,  and  end  by  all  dancing 
with  partners  around  the  room. 

70.  GRAND  CHAIN 

Six  couples  dance,  after  which  each  dancer  selects 
a  new  partner,  and  all  form  in  a  circle.  Partners 
turn  facing  each  other  and  Grand  Right  and  Left  is 
danced.  At  a  signal  all  swing  half  round  and  re- 
verse the  direction  of  the  chain.  At  a  second  signal 
the  direction  is  again  reversed.  This  is  done  several 
times,  when  at  last  the  signal  to  dance  is  given,  and 
each  gentleman  takes  as  partner  the  lady  who  hap- 
pens to  be  facing  him  at  the  moment. 

71.  THE  CHANGING  WINDMILL 

This  figure  requires  six  couples.  The  gentlemen, 
each  retaining  his  partner's  left  hand  in  his  right,  form 
a  moulinet  by  crossing  left  hands  in  the  centre.     One 


XTbc  (5erman,  oi  CotlUfon  17S 

:?omplete  revolution  is  made,  when,  still  retaining 
partners'  hands,  the  positions  of  the  ladies  and  the 
gentlemen  are  reversed,  the  gentlemen  stepping  back- 
ward in  turning.  The  ladies  now  form  the  moulinet. 
reversed,  by  crossing  their  right  hands,  and  a  com- 
plete revolution  is  made,  after  which  the  positions  are 
again  reversed,  the  gentlemen  stepping  forward  this 
time  in  making  the  change.  This  may  be  repeated 
as  often  as  desired,  terminating  with  a  general  waltz. 

72.  THE  CIRCULAR  ROAD 

Any  number  of  couples  may  participate  in  this 
figure.  A  grand  circle  is  formed.  Each  gentleman 
then  swings  his  partner  half  round  toward  the  centre 
of  the  set.  The  ladies  thus  form  an  inner  circle, 
each  lady  facing  her  partner  and  about  four  feet  dis- 
tant from  him.  This  space  between  the  two  rings  is 
the  ^'  Circular  Road."  The  leading  gentleman  and 
his  lady  now  waltz  all  the  way  around  in  this  space, 
«ind  on  regaining  starting  point  the  gentleman  takes 
his  partner's  place  in  the  inner  ring  and  she  takes 
his  place  in  the  outer  circle.  When  all  the  couples, 
in  succession,  have  waltzed  around  the  circular  road, 
the  inner  circle  will  be  composed  of  gentlemen  and 
the  outer  ring  of  ladies.  All  then  waltz  with' part- 
ners. This  is  often  used  as  the  concluding  figure  of 
the  German. 


176  Bancfng 

73.  GENTLEMEN  TO  THE  RIGHT 

Any  number  of  couples  may  be  called  upon  to 
execute  this  figure.  All  form  in  a  circle.  Each  gen- 
tleman then  balances  with  and  turns  the. lady  at  his 
right,  then  balances  with  and  turns  the  next  lady,  and 
so  on  until  each  regains  his  own  partner,  when  all 
waltz.  This  is  also  a  good  concluding  figure,  as  all 
ttie  couples  may  be  called  to  the  floor  at  once. 

74.  FINAL  ROUND 

All  form  a  large  circle  by  joining  hands.  The  first 
gentleman  and  his  lady  separate  from  the  circle, 
which  must  be  at  once  reconnected,  and  waltz  around 
inside  the  circle.  At  a  signal,  the  lady  passes  through 
the  circle  and  takes  her  seat.  The  gentleman  then 
selects  another  lady  from  the  circle,  with  whom  he 
dances.  At  a  signal,  he  retires  from  the  circle  to  his 
seat,  and  the  lady  with  whom  he  has  just  danced  se- 
lects a  new  partner  from  the  circle.  This  is  repeated 
till  only  three  couples  remain  on  the  floor,  when  the 
figure  terminates  with  a  general  waltz.  This  is  also 
a  good  closing  figure. 

75.  ARCHWAY 

Any  number  of  couples  may  execute  this  figure. 
The  gentlemen  form  in  11^*^  down  the  middle  of  the 


^be  <5crman,  or  CotUlton  177 

room,  and  the  ladies  form  in  line,  each  facing  her 
partner.  The  first  couple  join  hands  and  raise  their 
arms,  thus  forming  an  arch.  The  second  couple 
pass  under,  stop,  turn,  join  hands  and  raise  their 
arms,  thus  adding  to  the  length  of  the  archway. 
All  the  other  couples  do  the  same  thing  in  suc- 
cession.    When  the  archway  is  completed,  all  dance. 

76.  IN  AND  OUT 

Any  number  of  couples  may  participate.  Form 
in  line,  one  couple  behind  another,  all  facing  the 
same  way.  The  first  couple  turns  and  passes  be- 
neath the  joined  hands  of  the  second  couple ;  then 
separate,  passing  outside  of  the  third  couple ;  then 
rejoin  and  pass  under  the  hands  of  the  fourth  couple, 
and  so  continue  to  the  end  of  the  line.  Each  couple 
'repeats  the  figure  in  turn.  Partners  then  face  each 
other,  stepping  back  so  as  to  form  two  lines,  one  of 
gentlemen  and  one  of  ladies.  The  two  lines  for- 
ward, and  all  dance  with  partners. 

77.  COVERED  ARCHWAY 

Couples  form  in  column,  one  behind  another,  and 
march  down  the  centre  of  the  room.  On  reaching 
the  head  of  the  room,  the  first  couple  turn  to  the 
right,  the  second  to  the  left,  the  third  to  the  right. 


178  Banclng 

the  fourth  to  the  left,  and  so  on,  thus  forming  two 
columns  marching  around  the  room  in  opposite 
directions.  When  the  two  columns  meet,  the  couples 
constituting  the  column  at  the  right  join  and  raise 
their  hands,  forming  a  continuous  archway  under 
which  the  other  column  marches.  Both  columns 
continue  marching  until  the  last  couple  has  emerged 
from  the  archway,  when  all  dance.  The  two-step  is 
best  adapted  to  the  execution  of  this  figure. 

78.  FLYING  SCARFS 

Four  couples  dance.  Two  scarfs  are  tied  together 
in  the  middle  so  as  to  form  a  cross.  Each  of  the 
four  gentlemen  takes  one  of  the  ends  of  the  scarfs 
in  his  left  hand,  holding  it  well  above  his  head. 
The  four  couples  then  waltz,  being  careful  to  preserve 
the  same  distance  from  each  other. 

79.  CONUNDRUMS 

-  Cards  are  prepared,  numbered  in  pairs.  On  one 
card  of  each  pair  is  written  a  conundrum,  and  on 
the  other  is  written  the  answer.  The  cards  contain- 
ing the  answers  are  distributed  to  the  ladies,  and  the 
others  are  given  to  the  gentlemen.  Each  gentleman 
then  reads  his  conundrum,  and  the  lady  who  holds 
the  answer  reads  it.     The  two  then  dance  together. 


ITbe  German,  or  CotlUfon  179 

80.  DISTINGUISHED  PEOPLE 

Two  sets  of  cards,  equal  in  number,  are  prepared, 
one  set  containing  the  names  of  various  male  charac- 
ters noted  in  history  or  fiction,  and  the  other  names 
of  equally  distinguished  female  characters.  These 
cards  are  distributed  among  the  gentlemen  and 
ladies  respectively.  The  leader  also  has  dupli- 
cates of  all  the  ladies'  cards,  and  his  partner  has 
duplicates  of  the  gentlemen's  cards.  When  all  the 
cards  have  been  distributed,  the  leader,  drawing  at 
random  from  his  cards,  reads  the  name  of  a  female 
character.  The  lady  holding  the  corresponding  card 
rises.  The  leader's  partner,  also  drawing  at  random 
fi:pm  her  cards,  reads  the  name  of  a  male  character, 
and  the  gentleman  holding  the  corresponding  card 
rises  and  offers  his  ann  to  the  lady,  with  whom  he 
promenades  until  all  have  been  paired  off  in  the 
same  way,  after  which  all  waltz.  Some  very  amus- 
ing combinations  may  occur,  such  as  "I^ady  Macbeth'* 
and  " Simple  Simon,"  "  The  Living  Skeleton"  and 
''  Trilby,"  "  Shakspeare  "  and  "  Gentle  Annie,"  etc. 

81.  MITTENS  AND  HEARTS 

An  equal  number  of  miniature  mittens  and  hearts 
are  cut  out  of  cloth  or  paper,  and  enclosed  in  small 
envelopes.    A  pair  of  these  envelopes  is  given  to  each 


180  Danctng 

lady.  She  selects  two  gentlemen  and  presents  ar. 
envelope  to  each.  The  one  receiving  the  heart 
dances  with  her,  while  the  one  to  whom  the  mitten 
is  given  returns  to  his  seat. 

82.  DISCORD 

Six  couples  are  required  for  this  fifrure.  Six  pairs 
of  toy  instruments  (trumpets,  fiies,  whistles,  etc.)  are 
provided,  one  of  each  pair  being  without  sound.  Each 
lady  takes  a  pair  of  these  instruments,  and  her  partner 
selects  anotlier  gentleman,with  whom  he  stands  before 
her.  The  lady  gives  an  instrument  to  each  gentleman, 
and  dances  with  the  one  whose  instrument  proves  to 
be  dumb.  The  six  gentlemen  having  the  sounding 
insti'uments  pair  off  and  dance  together,  performing 
vigorously  on  their  instruments  at  the  same  time. 

83.  FLAGS 

Several  pairs  of  flags  are  provided,  each  pair  being 
different  in  design  or  color  from  the  others.  One  of 
each  pair  is  given  to  a  lady,  the  corresponding  flag 
being  given  to  a  gentleman.  The  gentlemen  then 
dance  with  the  ladies  holding  the  flags  similar  to 
their  own.  At  the  conclusion  of  the  dance,  the  gen- 
tlemen hand  their  flags  to  other  gentlemen  and  the 
ladies  hand  their  flags  to  other  ladies,  when  the  fig- 
ure is  repeated 


The  Floaver  Gibii 


tibe  German,  or  Cotillion  183 

84.  THE  MAY-POLE 

A  pole,  about  ten  feet  in  height,  is  inserted  in  a 
box  filled  with  eartli,  or  otherwise  supported.  To 
the  top  of  the  pole  are  fastened  eight  ribbons  of  dif- 
ferent colors,  each  about  four  yards  long  and  having 
a  loop  at  the  lower  end.  Four  couples  form  a  circle 
around  the  pole,  each  gentleman  having  his  partner 
at  his  right  hand.  Each  takes  a  ribbon  by  the  loop, 
the  gentleman  holding  his  in  the  right  hand  and  the 
lady  holding  hers  in  her  left  hand.  All  face  part- 
ners. At  a  signal  all  move  around  as  in  the  Grand 
Chain,  but  without  touching  hands,  each  gentleman 
passing  first  inside  his  partner,  outside  the  next  lady, 
and  so  on,  until  the  ribbons  are  braided  upon  the 
pole.  At  a  signal,  which  is  given  just  as  each  gentle- 
man faces  his  own  partner,  all  turn  half  round, 
change  the  loop  to  the  other  hand,  and  reverse  the 
movement,  thus  unbraiding  the  ribbons.  After- 
wards, all  waltz. 

85.  THE  FLOWER  GIRL 

A  number  of  fancy  cards  are  provided,  on  one  of 
which  the  words,  "  Flower  Girl  "  are  written.  These 
cards,  enclosed  in  envelopes,  are  distributed  to  the 
ladies.  At  a  signal  from  the  leader,  the  envelopes 
are  opened,  and  the  lady  having  the  card  marked 
"  Flower  Girl "  is  conducted  to  a  seat  at  the  end  of 


184 


S)ancfnd 


the  room.  The  leader  then  selects  a  number  of 
couples,  giving  to  each  one  selected  some  cut  flowers. 
The  couples  then  waltz,  and  as  they  pass  the  flower 
girl,  toss  the  flowers  into  her  lap.  She  is  then  at 
liberty  to  gather  them  into  a  bouquet  and  preserve 
them  as  a  souvenir  of  the  occasion. 


86.  BRAIDING 

This  figure  requires  three  tarlatan  scarfs  of  differ- 
ent colors,  each  scarf  being  about  three  yards  long 
and  twelve  inches  wide.  The  leader  calls  up  three 
couples,  who  arrange  themselves  in  a  six-sided  set, 
each  dancer  constituting  one  side  of  the  set,  with 

partners  opposite  to  each 
other.  Each  pair  of  part- 
ners holds  a  scarf  between 
them  (see  diagram). 

1,  2  and  3,  and  4,  5  and 
6  then  commence  braiding 
the  scarfs  simultaneously, 
by  passing  under  one  an- 
other's arms  in  turn. 
When  the  braiding  is 
completed,  the  leader 
takes  the  scarfs  and  signals 
This  may  be  executed  simul- 
taneously by  any  number  of  sets  desired. 


0  Laxly 


the  couples  to  dance. 


tTbe  (5crman,  or  cotillion  185 

87.  THE  GRAB-BAG 

A  fancy  bag  is  provided  containing  cards  upon 
which  are  written  the  names  of  the  ladies  dancing. 
The  leader  calls  a  number  of  couples  to  the  floor 
and  they  dance.  At  a  signal  from  the  leader  they 
stop,  and  the  ladies  choose  new  partners.  The 
gentlemen  with  whom  they  have  been  dancing 
cluster  around  the  leader,  who  permits  each  one  to 
draw  a  card  from  the  bag,  thus  securing  as  partner 
the  lady  whose  name  is  written  thereon. 

88.  THE  MULLIGAN  GUARDS 

Toy  drums  are  supplied  for  all  the  ladies  and 
iarge  tin  whistles  or  toy  trumpets  for  all  the  gentle- 
men, the  drums  and  trumpets  being  correspondingly 
numbered  from  1  up.  The  leader  distributes  these 
favors  at  random,  and  then  calls  for  numbers  1,  2, 
3,  4,  etc.,  to  dance,  calling  up  as  many  couples  as 
will  comfortably  fill  the  room.  The  ladies  and  gen- 
tlemen having  corresponding  numbers  dance 
together.  At  a  signal,  the  couples  form  a  column 
on  the  left  side  of  the  floor  facing  the  top  of  the 
room,  with  the  ladies  on  the  inside.  All  then  march 
forward,  and  when  the  first  couple  reaches  the  upper 
left-hand  corner,  the  gentleman  halts  and  faces 
about  toward  the  bottom  of  the  room,  the  lady  mov- 
ing to  the  right.     The  second  gentleman  takes  his 


186  Dancing 

place  on  the  first  gentleman's  left,  while  the  second 
lady  follows  the  first ;  and  the  other  couples  do  the 
same.  The  ladies  continue  to  march  in  single  file, 
turning  at  the  right  upper  corner,  and  passing  down 
the  right  side  and  across  the  bottom,  where  they  halt 
Each  lady  is  now  opposite  her  partner,  the  line  of 
gentlemen  being  across  the  top  of  the  room,  and  the 
ladies  across  the  bottom  with  the  first  gentleman  and 
lady  on  the  left.  The  leader  calls  "  March,"  and  the 
two  lines  advance  toward  each  other,  the  ladies  beat- 
ing their  drums  and  the  gentlemen  blowing  their 
trumpets.     When  the  lines  meet,  all  dance. 

89.  THE  KNOT 

After  the  company  have  all  danced  they  form  a 
Grand  Round  and  circle  to  the  left.  When  the  dancen* 
have  regained  their  original  positions,  the  ladies  form 
a  round  inside,  facing  the  gentlemen.  The  ladies 
move  once  round  to  the  right,  and  the  gentlemen 
once  to  the  left,  and  each  gentleman  then  joins  right 
hands  with  his  partner,  moving  as  though  com- 
mencing a  Grand  Chain.  On  meeting  the  second  lady 
he  presents  his  left  hand,  swings  round  her,  gives  his 
right  hand  to  the  next  lady,  swings  round  her,  and  so 
continues  turning  with  the  right  and  left  alternately 
until  he  reaches  his  partner,  when  all  salute  and 
then  waltz. 


^bc  German,  or  Cotillion  187 

90.  THE  DOUBLE  PASTOURELLE 

Four  couples  form  as  for  quadrille.  The  two  gen« 
tlemen  at  the  head  retaining  their  partners'  hands, 
take  with  their  left  hands  the  side  ladies  on  theii 
left,  who  leave  their  partners,  thus  forming  two 
threes  at  the  head  ;  they  forward  and  back  four  bars  ; 
the  gentlemen  pass  the  ladies  to  the  side  gentlemen, 
the  lady  on  the  left  passing  under  their  right  arms; 
the  threes  forward  and  back  four  bars,  the  ladies 
going  to  the  gentlemen  at  the  head.  This  figure  is 
repeated  four  times,  when  all  dance. 

91.  DOUBLE  QUADRILLE 

Four  couples  dance, 
after  which  each  dan- 
cer selects  a  new  part- 
ner, and  the  eight 
couples  form  as  for  a  /\  />. 
double  quadrille. 

Inside  head  couples  <C^<0^ 
half    right   and    half 
left ;  then  inside  side 
couples  the  same ;  out- 
side head  couples  pass 
under  the  arms  of  the  v>   a  y 

couple  in  front,  and  half  right  and  left ;  outside  sides 
the  same ;  the  two  ladies  in  each  group  take  hands, 


;> 

X 

oo 

X 

X 

X 

0 

xO 

X  Gentleman 

188  Dandtifl 

and  the  two  gentlemen  do  the  same,  turning  so  that 
the  ladies  and  gentlemen  stand  face  to  face ;  gentle- 
men raise  their  hands,  while  ladies  pass  round  in 
couples  under  them ;  when  they  regain  places,  all 
take  ladies  and  dance. 

92.  THE  RENCONTRES 

Six  couples  waltz.  At  a  signal  .they  stop,  when 
each  gentleman  takes  his  lady's  left  hand  with  his 
right,  and  presents  her  to  one  of  the  other  couples, 
making  the  salute  when  the  exchange  of  ladies  is 
made ;  at  another  signal  the  ladies  are  returned  to 
their  partners,  when  all  waltz  to  seats. 

93.  THE  GENTLEMEN  BACK  TO  BACK 

Any  number  of  couples  form  a  Grand  Round ;  after 
going  round  once  to  the  left,  the  gentlemen  go  to- 
gether inside,  facing  outward,  all  taking  hands,  while 
the  ladies  all  join  hands,  facing  the  gentlemen ;  the 
two  circles  then  enlarge ;  gentlemen  going  forward, 
ladies  backward ;  then  diminish  and  again  enlarge, 
when  the  two  circles  go  round,  each  to  the  left ;  then, 
at  signal,  all  the  gentlemen  take  ladies  and  dance. 

.94.  THE  OPPOSITE  ROUNDS 

All  the  ladies  form  a  Grand  Round  facing  inward, 
going  to  the  left;  the  gentlemen  forming  a  circle 


TTbe  (Berman,  or  Cotfllion  199 

round  that  of  the  ladies,  also  going  to  the  left,  but 
facing  outward,  the  two  circles  being  thus  back  to 
l)ack,  and  going  round  in  opposite  directions ;  at 
signal  gentlemen  turn  and  dance  with  opposite 
ladies.  This  is  one  of  the  concluding  figures  of  the 
German, 

95.  LE  BANDEAU 

All  the  ladies  form  a  line  ;  all  the  gentlemen  ex- 
cept one  form  a  line  opposite ;  the  ends  of  the  line 
join  hands,  forming  a  Grand  Round  going  to  the 
left :  the  single  gentleman,  whose  eyes  are  blind- 
folded, stands  in  the  middle  of  the  circle ;  while  the 
circle  is  in  motion  he  touches  one  of  the  persons  in 
the  circle,  and  whether  it  is  a  gentleman  or  lady,  he 
dances  with  that  person  ;  while  the  circle  continues 
in  motion,  another  gentleman  is  blindfolded,  and  the 
figure  is  repeated  ;  after  repeating  the  figure  a  num- 
ber of  times,  the  ladies  and  gentlemen  separate, 
forming  two  lines,  when  all  advance,  and  each 
dances  with  the  one  opposite. 


96.  A  SUCCESSION  OF  MOULINETS 

Eight  couples  waltz,  after  which  each  dancer  selects 
a  new  partner.  A  square  is  then  formed  with  four 
couples  on  each  side^  thus '. 


190  Dancfng 


and  2,  3 

so   on. 


OX  OX  OX  OX     ^T\""^l 

^^;n  ^»\/  round  the  square, 

w\  ^'C^  cross   right  hands, 

^S  e.|00  going     half    round; 

o;?  '-^  then  cross  left  hands 

P^S  JM  with    the    next 

^^»  ^/\  couples,   going    half 

-^  S  «i  vv  ^^^^^^  >     ^^^^    right 

"^^iNN^A  VA\^^^^  hands   with   next, 

XvXvXvXv  and    so    alternating 

OLady        X  Gentleman  ^^^.^    ^j^^^    legaiD 

places,  when  a  general  waltz  follows. 

97.  LE  CHAT  ET  LA  SOURIS 

After  waltzing,  the  conductor  calls  all  the  gentle- 
men, designating  one  to  stand  outside,  while  the 
others  form  a  round  enveloping  a  lady ;  the  outside 
gentleman  then  endeavors  to  catch  the  lady,  passing 
under  the  arms  of  the  gentlemen  for  the  purpose ; 
the  gentlemen  allow  the  lady  to  escape  at  will,  but 
throw  every  obstacle  in  the  way  of  the  gentleman ; 
if  he  is  successful,  he  and  the  lady  waltz  together 
and  all  join  in  a  general  waltz. 


Cbe  0ecman»  oc  Cotillfon  191 

98.   LE  CARILLON  DE  DUNKIRQUE 

All  form  a  Grand  Round ;  at  a  signal  all  turn  part- 
i:.ers,  leaving  ladies  inside,  facing  partners ;  all  then 
clap  hands  three  times  and  stamp  the  foot  three 
times;  all  turn  partners  again,  ending  with  ladies 
stopping  each  in  front  of  the  next  gentleman  to  the 
left,  the  gentlemen  all  passing  to  the  right;  the 
clapping  of  hands  and  stamping  of  feet,  with  the 
turn  and  passing  round  in  the  same  direction,  are 
repeated  until  each  gentleman  meets  his  partner 
again,  when  all  waltz.  This  is  one  of  the  concluding 
figures,  and  is  best  adapted  to  the  polka. 


99.  THE  INSCRIPTIONS 

A  number  of  large  cards  are  prepared ;  upon  one 
Bide  of  each  is  a  number,  and  upon  the  other  side  a 
ludicrous  inscription ;  a  gentleman  and  lady  waltz ; 
the  lady  then  takes  her  place  by  the  table,  upon 
which  are  the  cards ;  the  gentleman  presents  a  basket 
containing  corresponding  numbers  with  those  on  the 
cards  to  another  gentleman,  who  after  drawing  one 
presents  it  to  the  lady ;  she  then  selects  the  card 
having  that  number,  and  attaches  it  to  the  gentle- 
man's back,  with  the  inscription  exposed  to  view ; 
Ihey  then  waltz  together. 


192  S>ancmd 

100.    LES  DAMES  ENSEMBLE 

The  ladies  take  partners  together  and  waltz  round . 
three  gentlemen  then  endeavor  to  form  a  hands 
round,  around  any  of  these  couples.  If  successful, 
the  ladies  choose  two  of  the  gentlemen  for  a  waltz ; 
the  remaining  gentleman  joins  with  two  others,  and 
again  makes  an  attempt  to  encircle  two  ladies ;  when 
successful,  these  two  ladies  also  select,  and  the  re- 
mainmg  gentleman  joins  to  two  others,  forming 
another  circle,  and  so  on  until  all  the  ladies  have 
partners  ;  the  last  gentleman  retires  to  his  seat  alone 
This  is  one  of  the  concluding  figures. 


THE  MINUET 

There  are  seven  motions  employed  in  the  minuetj 
named  as  follows :  Pas  Marche,  Pas  Balance,  Pas 
Grave,  Pas  Menuet,  Pas  Bour^,  Pas  Sissone,  and  Pas 
de  Basque  Pirouette. 

Pas  Marche. — This  is  a  simple  walking  step,  three 
steps  being  taken  to  a  bar. 

Pas  Balance. — The  balance  is  of  two  kinds,  the 
Forward  Balance  and  the  Backward  Balance.  In  the 
forward  movement  step  forward  on  the  right  foot, 
balance  on  that  foot,  and  extend  the  left  to  the  second 
position.  The  backward  movement  is  the  reverse  of 
this,  the  dancer  stepping  back  with  the  left  foot, 
balancing  on  that  foot,  and  extending  the  right  to 
second  position.  All  these  positions  should  be 
assumed  with  grace  and  daintiness. 

Pas  Grave. — Place  the  feet  in  the  fifth  position, 
with  the  right  foot  in  front.  Bend  both  knees,  rise 
on  both  toes,  and  descend  on  the  left  heel,  bending 
the  right  knee  by  raising  the  right  heel,  and  allowing 
the  right  toe  to  remain  on  the  floor  (one  bar).    This 

193 


194  Dancfna 

is  reversed  when  the  left  foot  is  in  front,  the  left  heel 
then  being  elevated.  The  Pas  Grave  always  precedes 
the  Balance,  the  latter  following  on  the  succeeding 
measure.  This  motion  if  an  exaggerated  one,  as, 
indeed,  are  most  of  the  minuet  movements.  The 
bending  of  the  knees  should  produce  a  decided  dip 
of  the  body,  and  in  all  the  motions  a  rather  de- 
cided manner  should  be  displayed. 

Pas  Menuet. — Place  the  feet  in  the  fifth  position, 
with  the  right  foot  in  front.  Bend  both  knees,  rise, 
and  in  rising  extend  the  right  foot  to  the  second 
position ;  then  transfer  the  weight  of  the  body  from 
the  left  foot  to  the  right  and  extend  the  left  to  the 
second  position  (one  bar).  This  motion  is  con- 
tinued in  the  same  direction  by  passing  the  left  foot 
behind  the  right  at  the  moment  of  bending  the 
knees  for  the  repetition.  Corresponding  motions 
are  used  for  passing  to  the  left. 

Pas  Boure. — Place  the  feet  in  the  second  position, 
with  the  right  extended,  standing  on  the  toes  of  both 
feet.  Draw  the  right  foot  behind  the  left  to  the  fifth 
position,  and  then  step  to  the  left.  Again  pass  the 
right  foot  behind  and  step  to  the  left.  Do  this  three 
times  during  one  bar  of  music.  The  motions  are 
the  same  for  passing  to  the  right  as  to  the  left,  and 
are  sometimes  accelerated  to  twelve  to  a  bar  and 
sometimes  retarded  to  three  to  a  bar. 


TTbe  /Bbinuct  195 

Pas  Sissone. — Place  the  feet  in  the  second  position 
of  right.  Pass  the  right  behind  the  left  to  the  fifth 
position,  as  in  the  Pas  Boure,  and  step  to  the  left ; 
then  pass  the  right  in  front  to  the  fifth  position,  and 
immediately  place  the  left  in  second  position  (one 
bar).     Return  to  the  right  in  the  same  way. 

Pas  de  Basque  Pirouette. — Place  the  feet  in  the 
fifth  position,  with  the  right  in  front.  Then  take 
the  second  position  with  the  right,  place  the  left  in 
front  in  the  fourth  position,  rise  on  the  toes  and 
swing  half  round  to  the  right,  thus  bringing  the 
right  foot  in  front  in  the  fourth  position.  If  it  is 
desired  to  face  to  the  left,  begin  with  the  left  foot 
and  perform  the  same  movement  to  the  left. 

In  the  original  minuet  the  couples  moved  in  a 
square  space,  but  entirely  independent  of  one  another. 
The  following  dance,  which  is  arranged  as  a  quad- 
rille, is  the  form  of  minuet  generally  favored  now- 
adays. 

THE   QUADRILLE   MINUET 

For  this  dance  eight  persons  are  required,  and 
they  form  the  same  as  for  the  lancers — a  couple  on 
each  side  of  a  square. 

FIRST  MOVEMENT 

Salutation  to  Partners 8  bars 

Salutation  to  Sides 8    ' 


198  2)ancing 


SECOND  MOVEMENT 

Head  Couples  forward  with  Pas  Grave  twice      .  4  ban 

Pas  Menuet  to  the  Right .2 

Tw^o  Balances  Forw^ard 2 

Pas  Menuet  to  the  Left 2 

Cross  to  Opposite  Places  w^ith  Pas  Marche      .    .  2 

Balance 4 

Right  and  Left  to  Places 2 

Salute  Partners 1 

The  salutations  to  partners  and  to  sides  are  per- 
formed slowly.  The  ladies  courtesy  very  low  and  rise 
slowly  and  with  much  dignity  after  bending  the  knees. 
The  dress  is  sometimes  grasped  at  each  side  and  very 
daintily  raised  during  the  bend  of  the  courtesy.  The 
second  movement  is  danced  first  by  the  Head  Couples. 
In  the  Balance  the  couples  pass  each  other  until 
they  are  back  to  back,  when  they  perform  the  Pas 
Menuet  that  follows.  When  they  are  ready  for  the 
Cross  to  Opposite  Places,  they  have  already  nearly 
reached  the  opposite  places.  Each  gentleman  takes 
his  partner's  left  hand  with  his  left,  and  the  lady 
passes  in  front  of  her  partner  with  a  Pas  Marche. 
This  brings  her  to  the  right  side  of  her  partner  in 
the  opposite  couple's  place.  The  couples  then 
salute  each  other  and  again  forward  and  right  and 
left  to  places,  where  they  salute  partners. 


Zbc  /Biinuct  197 

THIRD  MOVEMENT 

Salutation  to  Partners 8  bars 

Salutation  to  Sides 8  " 

All :    Balance  to  Corners  (as  in  the  first  move- 
ment)    4  " 

Change  at  Corners     , 4  " 

Salute 4  " 

Return  to  Places 4  " 

In  this  movement  the  heads  turn  to  the  corners, 
the  gentlemen  to  the  left  and  the  ladies  to  the  right, 
and  Balance.  They  then  execute  a  Pas  Marche, 
give  right  hands  to  the  corners  and  change  places, 
saluting  after  the  change  is  made.  In  returning  to 
places,  again  with  a  Pas  Marche,  left  hands  are 
extended,  and  the  movement  is  executed  with  the 
left-foot  balance. 

The  sides  now  perform  the  second  movement 
(nineteen  bar^),  and,  beginning  with  the  Balance  to 
Corners  in  the  third  movement,  continue  this  as 
directed  (sixteen  bars).  All  then  make  the  pro- 
found salutations  described  in  the  first  movement. 

The  capacity  of  the  human  form  for  graceful 
movement  is  demonstrated  in  this  courtly  dance, 
which,  if  properly  executed,  may  really  be  regarded 
as  one  continuous  movement  that  offers  not  the 
slightest  hint  of  awkwardness  or  abruptness.  When 
young  children  dance  it,  their  positions  are  quite 


198  ©ancfng 

exaggerated.  When  not  joining  hands  with  theii 
partners  during  the  Pas  Marche,  they  place  their 
arms  akimbo,  with  the  haads  upon  the  hips,  and 
bend  their  bodies  backward  from  the  waist,  with 
their  heads  gracefully  inclined  toward  their  partners. 

LA  PAVANE 

La  Pavane  is  an  old  dance,  of  French  origin,  dating 
back  at  least  two  centuries.  It  is  distinguished  by 
the  most  courtly  grace  and  elegance  of  carriage,  com- 
bined with  the  stately,  ceremonious  manner  peculiar 
to  the  old  court  of  France. 

The  directions  given  below  are  for  two  couples 
facing  each  other.  Any  number  of  couples  may 
dance,  the  number  depending  entirely  upon  the 
space  available.  About  twelve  feet  is  required  be- 
tween the  couples. 

Before  the  commencement  of  the  music  partners 
should  stand  facing  each  other,  which  of  course 
places  each  couple  with  their  sides  toward  the  oppo- 
site couple. 

SALUTE 

Present  hands  as  for  ladies'  chain,  gentleman's 
right,  lady's  left,  and  slowly  turn  to  face  opposite 
line  of  couples,  4  bars. 


Xa  pavane  199 

Step  forward  three  steps  with  a  sliding  motion  and 
halt.  2  hars. 

Salute  all  to  right,  2  bars. 

Salute  all  to  left,  2  bars. 

Note. — The  first  salute  should  be  longer  than  the 
second. 

Partners  turn  so  as  to  face  each  other ;  lady  slides 
to  left,  gentlemen  to  right.     Salute  partners,  2  bars. 

Salute  partners  again,  lady  slides  to  right,  gentle- 
man to  left,  2  bars. 

Again  present  hands  and  turn  slowly  so  as  to  face 
the  couple  opposite,  2  bars. 

FIRST  FIGURE 

Promenade  across,  as  in  quadrille — that  is,  each 
couple  crosses  the  floor  to  opposite  couple's  place, 
passing  round  to  the  left.  Four  bars  are  occupied  in 
this  movement,  and  at  the  conclusion  of  the  fourth 
bar  the  two  couples  should  be  in  a  line  with  the 
ladies  back  to  back  in  the  centre,  and  each  gentle- 
man facing  his  partner. 

Each  dancer  now  raises  the  left  hand  sufficiently 
high  to  be  able  to  look  under  and  beyond  it.  At  the 
same  time  the  left  foot  is  thrust  forward  and  tapped 
four  times  on  the  floor.  In  doing  this  the  leg  must 
be  kept  straight.     One  bar  of  music. 


200  ©ancfng 

Change  places  with  partners  and  raise  right  hands, 
making  same  taps  as  before,  but  with  the  right 
foot. 

Change  places  again  with  partners,  gentleman  takes 
lady's  left  hand  with  his  right,  and  both  face  in  same 
direction.  Promenade  across  to  their  original  posi- 
tion, passing  to  left.  When  in  position  slide  first  to 
left — 2  beats  ;  then  to  right — 2  beats ;  and  salute,  the 
salutation  occupying  4  beats,  or  1  bar. 

SECOND  FIGURE 

Partners  are  now  facing  each  other,  sides  to  oppo- 
site couples.  All  make  Pas  Coupe  to  right,  presenting 
left  hands.     Partners  turn  opposite  ways — 1  bar. 

All  make  Pas  Coupe  to  left,  presenting  right  hands, 
hold  hands  until  two  Pas  Coupe  are  made  round  to 
each  other's  place.  Repeat  these  movements,  which 
have  taken  4  bars. 

THIRD  FIGURE 

Balance  to  partners,  pirouette  with  lady  and 
change  places. 

Gentleman  takes  lady's  left  hand  with  his  right. 
Turn  and  balance  again.  Lady  passes  to  left,  gentle- 
man  to  right,  the  hand  should  be  raised — 1  bar. 

Turn  and  balance  to  partners   again,  but  in  th« 


Xa  pavane  201 

opposite  direction.  Gentleman  to  right,  lady  to  left 
— 1  bar. 

With  hands  held  up  the  lady  passes  backward  un- 
der the  gentleman's  arm  and  turns,  at  the  same  time 
nentleman  steps  forward  into  the  lady's  place,  whilo 
■le  lady  occupies  his,  facing  each  other — 2  bars. 

Salute  to  left — 2  bars. 

Salute  to  right — 2  bars. 

Repeat  the  same  movements,  which  will  bring  the 
dancers  back  to  place. 

FOURTH  FIGURE 

Partners  are  facing  opposite  couple.  The  two 
ladies  advance  toward  each  other  with  Pas  Marche. 
Courtesy  to  left  when  half-way  to  centre.  Courtesy 
again  to  right  when  close  enough  to  touch  hands — 2 
bars. 

Now  present  hands  and  with  promenade  step  per- 
form the  ladies'  chain.  The  ladies  walk  past  each 
other,  give  left  hands  to  left  hands  of  gentlemen, 
pass  around  the  gentlemen  so  that  each  lady  occu- 
pies the  other's  place,  and  each  couple  is  facing  the 
other — 4  bars. 

Salute  right  and  left — 4  bars. 

Repeat  these  movements  in  order  that  the  ladiea 
ttiay  return  to  their  original  positions. 


202  Dancfng 

FIFTH  FIGURE 

Presenting  hands,  turn  to  face  opposite  couple-  -2 
bars. 

Forward  three  Pas  Marche,  turn  to  face  partners — • 
2  bars. 

Salutes  each  way — 4  bars. 

Take  hands  and  face  opposite  couple,  salute  oppo- 
site couple,  both  directions — 4  bars. 

Cross  right  hands  with  opposite  couple,  pass  half 
round,  Pas  Promenade — 2  bars,  and  salute  to  right — 
2  bars. 

Cross  left  hands,  pass  half  round  and  return  to 
places — 2  bars. 

Salute  again  to  right — 2  bars. 

Balance  to  partners  as  in  third  figure;  repeat 
twice — 4  bars. 

Salute  in  slow  and  stately  manner — 2  bars,  and 
disperse. 


vn 

ETIQUETTE  OF  BALLS  AND  PARTIES 

On  reaching  the  place  where  the  ball  or  party  is 
to  be  given,  a  gentleman  first  conducts  his  partner 
to  the  ladies'  dressing  room,  and  then  proceeds  to 
the  gentlemen's  dressing  room.  When  ready  to 
descend  to  the  Imll-room  he  seeks  his  partner  at  the 
door  of  the  apartment  where  he  previously  left  her  ; 
or,  if  a  sitting-room  be  provided  in  addition  to  the 
dressing-room,  the  lady  will  meet  her  partner  there. 
The  lady  invariably  enters  the  ball-room  in  advance 
of  her  escort.  In  no  case  do  they  enter  arm  in  arm. 
A  chaperon  will  enter  the  room  side  by  side  with 
her  charge.  At  private  parties  the  guests  first  pay 
their  respects  to  the  hostess  and  those  who  may  be 
receiving  with  her.  Owing  to  the  many  demands 
upon  the  attention  of  the  receiving  party,  these  greet- 
ings should  be  brief,  though  cordial.  Guests  should 
not  offer  to  shake  hands  unless  the  hostess  herself 
takes  the  initiative,  as  the  fatigue  attendant  upon 
receiving  a  large  number   in  this  way  furnishes  a 

203 


204  Dancfna 

most  reasonable  excuse  for  omitting  the  form  if 
desired. 

A  gentleman  is  supposed  to  dance  the  first  dance 
with  the  lady  whom  he  has  escorted  ;  to  see  that  she 
has  a  partner  for  every  dance  in  which  she  cares  to 
participate ;  to  take  her  out  to  supper,  and,  in  short, 
to  see  that  she  receives  every  attention  that  can  con- 
tribute to  her  pleasure. 

In  asking  a  lady  to  dance,  a  gentleman  should  use 
some  such  form  of  words  as  "  May  I  have  the 
pleasure  of  this  dance  ?"  "  May  I  have  the  honor  of 
dancing  with  you  ?"  or  some  equally  deferential  ex- 
pression. It  is  not  in  good  taste  to  ask  a  lady  if  she 
is  engaged  for  a  particular  dance.  If  she  is,  the  fact 
will  soon  appear,  and  if  she  is  not,  there  is  an  almost 
intangible  humiliation  in  admitting  the  fact  in  re- 
sponse to  a  direct  question.  It  involves  one  of  those 
little  points  of  tact  and  gracefulness  of  which  gentle- 
men cannot  be  too  observant.  While  the  gentleman 
is  supposed  to  be  the  favored  party,  and  while  this 
idea  should  always  be  reflected  in  the  deference  of 
his  manner,  the  lady  should  show  her  appreciation 
of  his  courteous  attention  by  an  equally  courteous 
acceptance  of  it.  Having  refused  a  dance  to  one 
gentleman  a  lady  is  not  at  liberty  to  accept  a  subse- 
quent invitation  from  another  gentleman  for  the 
same  dance. 


jetiquette  of  3BaUs  an&  |^artfe6  205 

Dancing  engagements,  once  made,  should  be  strictly 
kept.  It  is  an  unpardonable  offense  for  a  gentleman 
to  fail  to  claim  a  dance  which  he  has  solicited.  While 
more  allowance  is  made  for  a  lady  who  offends  in 
this  particular,  it  is  a  very  small  and  unworthy  kind 
of  vanity  that  is  gratified  by  the  contentions  arising 
from  carelessly  promising  the  same  dance  to  two  or 
three  different  cavaliers.  A  thoroughly  well-bred 
young  lady  will  avoid  being  guilty  of  such  conspic- 
uous rudeness,  even  though  her  partners  may  have 
chivalry  enough  to  suppress  their  private  opinion  of 
her  conduct. 

A  lady  may  grant  the  same  gentleman  two  dances 
in  the  course  of  an  evening,  but  he  is  not  at  liberty 
to  ask  her  for  a  third. 

At  a  public  ball  a  gentleman  who  has  a  limited 
acquaintance  with  those  present  will  apply  to  the 
floor  manager,  who  will  introduce  him  to  suitable 
partners.  While  the  lady  is  at  all  times  accorded 
the  privilege  of  declining  to  dance,  it  is  assumed 
that  she  may  accept  as  a  partner  any  gentleman  thus 
introduced  to  her.  The  floor  manager  is  supposed 
to  understand  the  duties  of  his  position,  and  if  he 
does  he  will  present  only  those  gentlemen  whom  he 
knows  to  be  unexceptionable.  Such  an  introduction, 
however,  does  not  entitle  the  gentleman  to  claim 
subsequent  acquaintance  with  the  lady,  unless  she 


206     •  Dancfn^ 

first  recognizes  him.  Introductions* given  in  a  pri- 
vate house,  on  the  contrary,  are  supposed  to  be 
permanently  valid,  and  respect  for  one's  hostess 
demands  that  acquaintances  thus  formed  shall  be 
recognized,  unless  there  be  some  grave  reason  for  a 
contrary  course. 

A  person's  good  breeding,  or  lack  of  it,  is  perhaps 
nowhere  more  clearly  manifested  than  in  dancing  a 
square  dance.  In  forming  a  set,  svhile  the  position 
of  head  couple  is  naturally  most  desirable,  it  should 
on  no  account  be  made  the  subject  of  contention. 
It  is  far  better  even  to  yield  one's  rights  than  to 
argue  such  a  point.  During  the  intervals  in  which 
a  couple  are  not  dancing,  they  are,  of  course,  at  per- 
fect liberty  to  converse.  The  conversation  should 
consist  of  the  "  light  and  airy  nothings  "  which  en- 
tertain for  the  moment  and  are  for  that  reason 
exactly  suited'  to  the  occasion.  It  should  never 
become  so  absorbing  as  to  render  one  couple  ob- 
livious to  the  existence  of  others  in  the  set,  or  make 
it  necessary  to  remind  them  of  the  fact  when  it  is 
their  turn  to  dance.  When  a  couple  have  once 
taken  their  places  in  a  certain  set  they  are  not  at 
liberty  to  leave  it  for  another  without  apologizing  to 
the  other  dancers  and  securing  another  couple  to 
take  their  place.  A  gentleman  should  not  converse 
with  any  lady  in  the  set  if  he  is  unacquainted  with 


^Etiquette  or  JBalls  anO  par«e0  207 

that  lady's  partner.  A  great  deal  of  courtesy  or  of 
rudeness  may  be  expressed  in  the  manner  of  doing 
the  simplest  thing.  A  lady  or  gentleman  who  makes 
a  profound  bow,  presumably  to  another  person,  and 
who  at  the  same  moment  looks  off  in  the  distance  as 
if  unconscious  of  that  person's  existence,  converts 
what  is  designed  to  be  an  expression  of  courtesy  into 
an  insult.  The  eyes  should  look  frankly  and  pleas- 
antly, for  an  instant^  at  least,  into  the  eyes  of  the 
person  saluted.  When  the  figures  of  the  dance 
temporarily  bring  together  those  wl\o  are  unac- 
quainted, the  same  friendly  courtesy  of  manner 
should  be  observed  by  all.  Each  set  should  be 
careful  to  keep  within  its  own  allotted  space  and  not 
encroach  upon  the  rights  of  others  in  this  respect. 

When  a  gentleman  claims  a  dance  which  has  been 
promised  to  him,  he  presents  himself  before  the 
lady  with  a  bow,  and  offers  her  his  right  arm.  They 
then  promenade  for  a  moment  before  beginning  to 
dance.  At  the  conclusion  of  the  dance  he  conducts 
her  to  her  seat  and  thanks  her  for  the  pleasure 
which  she  has  given  him.  A  bow  and  smile  is  a 
sufficient  acknowledgment  on  her  part.  He  should 
then  remain  chatting  with  her  for  a  moment,  but  is 
under  no  obligation  to  prolong  the  conversation, 
especially  if  his  attentions  are  due  elsewhere. 

In  any  social  gathering  it  should  be  the  aim  of 


208  2)ancfn0 

each  guest,  not  to  absorb  and  monopolize  attention^ 
but  to  contribute  in  every  way  possible  to  the  enjoy- 
rnent  of  all  concerned.  The  pleasure  of  the  ladies 
at  a  dancing  party  depends  almost  entirely  upon  the 
consideration  and  courtesy  of  the  gentlemen  present. 
For  this  reason  the  latter  should  be  careful  to  dis- 
tribute their  attentions,  not  overlooking  the  plainer 
and  less  attractive  ones.  While  all  ladies  are  not 
equally  charming,  all  have  an  equal  claim  upon  the 
courtesy  and  chivalry  of  the  gentlemen  whom  they 
meet  under  the  roof  of  a  common  friend. 

When  about  to  leave,  each  guest  should  seek  out 
the  hostess  and  bid  her  good-night,  with  some 
courteous  expression  of  the  pleasure  which  he  has 
enjoyed.  Those  who  have  been  thus  privileged 
should  call  formally  upon  their  entertainer  withii?  a 
week  or  ten  daya  after  the  event. 


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I 


ETIQUETTE  There  is  no  passport  to  good  society 
By  Agnes  H.  Morton  like  good  manners.  Q  Even  though  one 
possess  wealth  and  intelligence,  his  suc- 
cess in  life  may  be  marred  by  ignorance  of  social  cu^oms. 
^  A  perusal  of  this  book  will  prevent  such  blunders.  It  is 
a  book  for  everybody,  for  the  social  leaders  as  well  as  for 
those  less  ambitious.  Q  The  subjed  is  presented  in  a  bright 
and  intere^ing  manner,  and  represents  the  late^  vogue. 

LETTER  WRITING  Why  do  mo^  persons  dislike  to 
By  Agnes  H.  Morton  write   letters  ?     Is  it   not   because 

they  cannot  say  the  right  thing  in 
the  right  place  ?  This  admirable  book  not  only  shows  by 
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accomplished  original  letter  writer,  ^  There  are  forms  for  all 
kinds  of  business  and  social  letters,  including  invitations, 
acceptances,  letters  of  sympathy,  congratulations,  and  love 
letters. 

QUOTATIONS  A  clever  compilation  of  pithy  quota- 
By  Agnes  H.  Morton  tions,  selecfted  from  a  great  variety  of 
I  sources,    and    alphabetically    arranged 

according  to  the  sentiment.  ^  In  addition  to  all  the  popular 
quotations  in  current  use,  it  contains  many  rare  bits  of  prose 
and  verse  not  generally  found  in  similar  collections.  ^  One 
important  feature  of  the  book  is  found  in  the  charadteri^c 
lines  from  well  known  authors,  in  which  the  familiar  sayings 
ve  credited  to  their  original  sources. 

8 


EPITAPHS  Even  death  has  its   humorous  side. 

By  Frederic  W.  Uiiger  ^  There  are  said  to  be  "  sermons  in 
^ones,"  but  when  they  are  tomb^ones 
there  is  many  a  smile  mixed  with  the  moral.  ^  Usually 
churchyard  humor  is  all  the  more  delightful  because  it  is 
unconscious,  but  there  are  times  when  it  is  intentional  and 
none  the  less  amusing.  ^  Of  epitaphs,  old  and  new,  this 
book  contains  the  be^.  It  is  full  of  quaint  bits  of  obituary 
fancy,  with  a  touch  of  the  gniesome  here  and  there  for  a 
relish. 

PROVEI^BS  The  genius,  wit,  and  spirit  of  a  nation 

By  John  H.  Bechtel  are  discovered  in  its  proverbs,  and  the 
condensed  wisdom  of  all  ages  and  all 
nations  is  embodied  in  them.  ^  A  good  proverb  that  fits 
the  case  is  often  a  convincing  argument.  ^  This  volume 
contains  a  representative  colledion  of  proverbs,  old  and  new, 
and  the  indexes,  topical  and  alphabetical,  enable  one  to  find 
readily  ju^  what  he  requires. 

THINGS  WORTH      Can  you  name  the  colde^  place  in 
KNOWING  the  United  States  or  tell  what  year 

By  John  H.  Bechtel  ^^^d    445    days  ?      Do    you    know 

how  soon  the  coal  fields  of  the 
world  are  likely  to  be  exhausted,  or  how  the  speed  of  a 
moving  train  may  be  told  ?  What  should  you  do  firft  if 
you  got  4  cinder  in  your  eye,  or  your  neighbor's  baby  swal- 
lowed a  pin  ?  This  unique,  up-to-date  book  answers  thou- 
sands <J  juft  such  intere^g  and  useful  questions. 

3 


A  DICTIONARY  OF    Mo^  of  us  dislike  to  look  up  a 

MYTHOLOGY  mythological    subjedl   because 

By  John  H.  Bechtel  of    ^^    ^^    required.  ^  This 

book  remedies  that  difficulty 
because  in  it  can  be  found  at  a  glance  ju^  what  is  wanted. 
^  It  is  comprehensive,  convenient,  condensed,  and  the  infor- 
mation is  presented  in  such  an  intere^ng  manner  that  when 
once  read  it  will  always  be  remembered.  ^  A  di^ndlive 
feature  of  the  book  is  the  pronunciation  of  the  proper  names, 
something  found  in  few  other  works. 

SLIPS  OF  SPEECH      Who    does    not    make    them? 
By  John  H.  Bechtel  The  be^  of  us  do.  ^  Why  not 

avoid  them  ?  Any  one  inspired 
with  the  spirit  of  self-improvement  may  readily  do  so.  ^  No 
necessity  for  Undying  rules  of  grammar  or  rhetoric  when  this 
book  may  be  had.  It  teaches  both  without  the  ^dy  of 
either.  ^  It  is  a  counsellor,  a  critic,  a  companion,  and  a 
guide,  and  is  written  in  a  most  entertaining  and  chatty  style. 

HANDBOOK  OF  What  is  more   disagreeable 

PRONUNCIATION     than    a    faulty    pronunciation? 
By  John  H.  Bechtel  No    other   defed   so  clearly 

shows  a  lack  of  culture.  ^  This 
book  contains  over  5,000  words  on  which  mo^  of  us  are 
apt  to  trip  fl  They  are  here  pronounced  in  the  cleared  and 
simple^  manner,  and  according  to  the  be^  authority  ^  It 
is  more  readily  consulted  than  a  dictionary,  and  is  juit  as 
reliable. 

4 


PI^ACTICAL  A  new  word  is  a  new  tool,   fl  This 

SYNONYMS  t)oo^  ^^  "^'  ^'^^y  enlarge  your  vocabu- 
By  John  n.  Bechtcl  ^ary,  but  will  show  you  how  to  express 
the  exa(5t  shade  of  meaning  you  have 
in  mind,  and  will  cultivate  a  more  precise  habit  of  thought 
and  speech.  ^  It  ♦vill  be  found  invaluable  to  busy  joumali^s, 
merchants,  lawyers,  or  clergymen,  and  as  an  aid  to  teachers 
no  less  than  to  the  boys  and  girls  under  their  care. 


READY  MADE  SPEECHES      Pretty  much  everybody 
By  George  Hapgood,  Esq.  in   these   latter   days,   is 

now  and  again  called 
upon  "to  say  a  few  words  in  public."  ^  Unfortunately, 
however,  but  few  of  us  are  gifted  with  the  power  of  ready 
and  graceful  speech.  ^  This  is  a  book  of  carefully  planned 
model  speeches  to  aid  those  who,  without  some  slight  help, 
mu^  remain  silent.  ^  There  is  a  preliminary  chapter  of  gen- 
eral advice  to  speakers. 


AFTEI^-DINNER     The  dinner  itself  may  be  ever    so 
STORIES  good,  and  yet  prove  a  failure  if  there 

By  John  Harrison  »»  ^^  '^]'^^  ^°  ^"^^^^^  t^^  company. 

^  Nothing  adds  so  much  zest  to  an 
occasion  of  this  kind  as  a  good  ^ory  well  told.  ^  Here  are 
hundreds  of  the  late^,  be^,  brighter,  and  moA  catchy  Tories, 
all  of  them  short  and  pithy,  and  so  easy  to  remember  that 
anyone  can  tell  them  successfully.  ^  There  are  also  a 
number  of  seleded  toa^  suitable  to  all  occasions. 

5 


TOASTS  Mo^  men  dread  being  called  upon  to 

By  William  Pittenger  respond  to  a  toa^  or  to  make  an  ad- 
dress. ^  What  would  you  not  give  for 
the  ability  to  be  rid  of  this  embarrassment  ?  No  need  to 
give  much  w^hen  you  can  learn  the  art  from  this  little  book. 
^  It  will  tell  you  how  to  do  it ;  not  only  that,  but  by  ex- 
ample it  will  show  the  way.  ^  It  is  valuable  not  alone  to 
the  novice,  but  to  the  experienced  speaker,  who  will  gather 
from  it  many  sugge^ions. 


THE  DEBATER'S       There   is   no   greater   ability  than 
TREASURY  tl^e  power  of   skillful  and  forcible 

By  William  Pittenger  debate,    and     no     accomplishment 

more  readily  acquired  if  the  person 
is  properly  direcfled.  ^  In  this  little  volume  are  directions  for 
organizing  and  conducting  debating  societies  and  practical 
sugge^ions  for  all  who  desire  to  discuss  que^ions  in  public. 
^  There  is  also  a  Hit  of  over  200  que^ons  for  debate,  with 
arguments  both  affirmative  and  negative. 

PUNCTUATION       Few  persons  can  punctuate  properly ; 
By  Paul  Allardyc*  to  avoid  mi^akes  many  do  not  pundu- 

ate  at  all.  ^  A  perusal  of  this  book 
will  remove  all  difficulties  and  make  all  points  clear.  ^  The 
rules  are  plainly  ^ated  and  freely  illu^ated,  Aus  furnishing 
a  mo^  useful  volume.  ^  The  author  is  everywhere  recog- 
nized as  the  leading  authority  upon  the  subjedt,  and  what 
he  has  to  say  is  pradical,  concise,  and  comprehensive. 

6 


OI^ATOI^Y  Few  men  ever  enjoyed  »  wider  ex- 

By  Henry  Ward  Beecher  perience  or  achieved  a  higher  repu- 
tation in  public  speaking  than  Mr. 
Beecher.  ^  What  he  had  to  say  on  this  subject  was  bom 
of  experience,  and  his  own  inimitable  style  was  at  once  both 
statement  and  illu^ration  of  his  theme.  ^  This  volume  is  a 
unique  and  ma^erly  treatise  on  the  fundameiiial  principles  of 
true  oratory. 

CONVERSATION       Some  people  are  accused  of  talking 
By  J.  P.  Mahaffy  too    much.     But   no    one    is  ever 

taken  to  task  for  talking  too  well. 
^  Of  all  the  accomplishments  of  modern  society,  that  of 
being  an  agreeable  conversationali^  holds  fir^  place. 
Nothing  is  more  delightful  or  valuable.  ^  To  sugge^  what 
to  say,  ju^  how  and  when  to  say  it,  is  the  general  aim  of 
this  work,  and  it  succeeds  mo^  admirably  in  its  purpose. 

READING  The    ability  to    read   aloud  well, 

AS  A  FINE  AI^T       whether  at  the  fireside  or  on  the 
By  Ernest  Legouve  public    platform,     is    a     fine   art. 

^  The  direcftions  and  sugge^ions 
contained  in  this  work  of  ^andard  authority  will  go  far 
toward  the  attainment  of  this  charming  accomplishment. 
^  The  work  is  especially  recommended  to  teachers  and 
others  i'\tere^ed  in  the  in^ruc5lion  of  public  school  pupils. 

7 


SOCIALISM  Socialism  is  "in  the  air."  ^  References 

By  Charles  H.  Olin  to  the  subjedl  are  con^antly  appearing 
in  newspapers,  magazines,  and  other 
publications.  ^  But  few  persons  except  the  sociali^s  them- 
selves have  more  than  a  dim  comprehension  of  what  it  really 
means.  ^  This  book  gives  in  a  clear  and  intere^ing  manner 
a  complete  idea  of  the  economic  doctrines  taught  by  the  be^ 
sociali^. 

JOURNALISM  What  is  news,  how  is  it  obtained,  how 
By  Charles  H.  Olin  handled,  and  how  can  one  become  a 
Joumali^?  ^  These  que^ions  are  all 
answered  in  this  book,  and  detailed  in^rudions  are  given  for 
obtaining  a  position  and  writing  up  all  kinds  of  "assign- 
ments." ^  It  shows  what  to  avoid  and  what  to  cultivate, 
and  contains  chapters  on  book  reviewing,  dramatic  criticism 
and  proofreading. 

VENTRILOQUISM      Although  always  a  delightful  form 
By  Charles  H.  Olin  of  entertainment.  Ventriloquism  is 

to  mo^  of  us  more  or  less  of  a 
my^ery  ^  It  need  be  so  no  longer.  ^  This  book  exposes 
the  secrets  of  the  art  completely,  and  shows  how  almo^ 
anyone  may  learn  to  "  throw  the  voice  "  both  near  and  far. 
fl  Directions  for  the  con^udlion  of  automatons  are  given 
as  well  as  good  dialogue  for  their  successful  operation. 
q  Fully  illu^rated. 

8 


CONUNDI^UMS     Conundrums   sharpen    our   wits    and 
By  Dean  Rivers  lead  us  to  think  quickly.  ^  They  are 

also  a  source  of  infinite  amusement 
and  pleasure,  whiling  away  tedious  hours  and  putting  every- 
one in  good  humor.  ^  This  book  contains  an  excellent  col- 
ledtion  of  over  a  thousand  of  the  late^,  brighter,  and  mo^ 
up-to-date  conundrums,  to  which  are  added  many  Biblical, 
poetical,  and  French  conundrums. 

MAGIC  There  is  no  more  delightful  form  of  enter- 

By  Ellis  Stanyon  tainment  than  that  afforded  by  the  per- 
formances of  a  magician.  ^  My^erious  as 
these  performances  appear,  they  may  be  very  readily  learned 
if  carefully  explained.  ^  This  book  embraces  full  and 
detailed  descriptions  of  all  the  well  known  tricks  with  coins, 
handkerchiefs,  hats,  flowers,  and  cards,  together  with  a 
number  of  novelties  not  previously  produced  or  explained. 
fl  Fully  illustrated. 

HYPNOTISM  Therfe  is  no  more  popular  or 

By  Edward  H.  Eldridge.  A.  M.  intere^g  form  of  entertain- 
ment than  hypnotic  exhibitions, 
and  everyone  would  like  to  know  how  to  hypnotize.  ^  By 
following  the  simple  and  concise  in^rudions  contained  in  this 
complete  manual  anyone  may,  with  a  little  pradlice,  readily 
leam  how  to  exercise  this  unique  and  ^ange  power. 

9 


WHIST  "According    to    Cavendish"    is    now 

By  Cavendish  almo^    as    familiar    an    expression    as 

Twenty-third  Edition  "according  to  Hoyle."  ^  No  whist 
player,  whether  a  novice  or  an  expert, 
can  afford  to  be  without  the  aid  and  support  of  Cavendish. 
No  household  in  which  the  game  is  played  is  complete 
without  a  copy  of  this  book.  ^  This  edition  contains  all  of 
the  matter  found  in  the  English  publication  and  at  one-fourth 
the  coSt. 


PARLOR  GAMES      "What  shall  we  do  to  amuse  our- 
By  Helen  E.  Hollister  selves  and  our  friends?"  is  a  ques- 

tion frequently  propounded  on  rainy 
days  and  long  winter  evenings.  ^  This  volume  mo^  happily 
answers  this  que^ion,  as  it  contains  a  splendid  collecflion  of 
all  kinds  of  games  for  amusement,  entertainment,  and  in^ruc- 
lion.  ^  The  games  are  adapted  to  both  old  and  young,  and 
all  classes  will  find  them  both  profitable  and  intere^ing. 


ASTRONOMY :  Can  you  tell  what  causes 

The  Sun  and  His  Family      day  and   night,  seasons 

By  Julia  MacNair  Wright  and  years,   tides  and 

eclipses?  Why  is  the 
sky  blue  and  Mars  red  ?  What  are  meteors  and  shooting 
^ars  ?  ^  These  and  a  thousand  other  que^ons  are  answered 
in  a  mo^  fascinating  way  in  this  highly  intere^ing  volume. 
Few  books  contain  as  much  valuable  material  so  pleasantly 
packed  in  so  small  a  space.  ^  Illu^rated. 

lO 


BOTANY  ;  The  scientific  study  of 

The  Story  of  Plant  Life       Botany  made  as  intereft. 

By  Julia  MacNair  Wright  i^g  as  a  fairy  tale.  ^  It  is 

better  reading  than  such 
tales,  because  of  the  profit.  ^  Each  chapter  is  devoted  to 
the  month  of  the  year  in  which  plants  of  that  month  are  in 
evidence.  Not  only  is  the  subjed:  treated  with  accuracy, 
but  there  is  given  much  pradtical  information  as  to  the  care 
and  treatment  of  plants  and  flowers.  ^  Illu^rated. 

FLOWEI^S;  Every  woman  loves  flowers, 

How  to  Grow  Them       t>ut  few  succeed  in  growing 

By  Eben  E.  Rexford  them.     With    the    help    so 

clearly  given  in  this  book  no 
one  need  fail.  ^  It  treats  mainly  of  indoor  flowers  and  plants 
— those  for  window  gardening ;  all  about  their  seledion,  care, 
soil,  air,  light,  warmth,  etc.  ^  The  chapter  on  table  decora- 
tion alone  is  worth  the  price  of  the  book.  ^  While  the  sub- 
jed of  flowers  is  quite  thoroughly  covered,  the  ^yle  used  is 
plain,  simple,  and  free  from  all  technicalities. 

DANCING  A  complete  in^udor,  beginning  with 

By  Marguerite  Wilson  the  fir^  positions  and  ^eps  and  leading 
up  to  the  square  and  round  dances. 
^  It  contains  a  full  li^  of  calls  for  all  of  the  square  dances, 
and  the  appropriate  music  for  each  figure,  the.  etiquette  of 
the  dances,  and  1 00  figures  for  the  german.  ^  It  is  unusu- 
ally well  illustrated  by  a  large  number  of  original  drawings. 
^  Without  do»'bt  the  beA  book  on  the  subjed. 

II 


ASTI^OLOGY  If  you  wish  to  obtain  a  horoscope  of 
By  M.  M.  Macgrcgor  your  entire  life,  or  if  you  would  like  to 
know  in  what  business  or  profession  you 
will  be^  succeed,  what  friends  you  should  make,  whom  you 
should  marry,  the  kind  of  a  person  to  choose  for  a  business 
partner,  or  the  time  of  the  month  in  which  to  begin  an 
enterprise,  you  will  find  these  and  hundreds  of  other  vital 
que^ions  solved  in  this  book  by  the  science  of  Ailrology. 

PHYSIOGNOMY     How  can  we  judge  whether  a  man 
By  Leila  Lomax  may  be  tru^ed  to  handle  money  for 

us?  Q  How  can  a  woman  analyze 
a  man  who  would  marry  her  ?  ^  Partly  by  words,  partly 
by  voice,  partly  by  reputation,  but  more  than  all  by  looks — 
the  shape  of  the  head,  the  set  of  the  jaw,  the  line  of  the 
mouth,  the  glance  of  the  eye.  ^  Physiognomy  as  explained 
in  this  book  shows  clearly  how  to  read  character  with  every 
point  explained  by  illu^ations  and  photographs. 

GRAPHOLOGY :  Do  you  know  that  every 

How  to  Read  Character     time  you  write  five  or 
from  Handwriting  ««  ^^^^  you  furnish  a 

By  Clifford  Howard  complete  record  of  your 

characfler?  Anyone  who 
under^ands  Graphology  can  tell  by  simply  examining  your 
handwriting  ju^  what  sort  of  a  person  you  are.  ^  There  is 
no  method  Qf  character  reading  that  is  more  intere^ing,  more 
tru^worthy,  and  more  valuable  than  that  of  Graphology, 
and  it  is  the  aim  of  this  volume  to  enable  anyone  to  become 
a  ma^er  of  this  mo^  fascinating  art. 

13 


CURIOUS   FACTS       Why  do  you  raise  your  hat  to  a 
By  Clifford  Howard  lady  ?   and  why  are  you  always 

careful  to  offer  the  right  hand  and 
not  the  left  ?  ^  Is  there  a  good  reason  for  the  buttons  on 
the  sleeve  of  your  coat?  fl  How  did  your  family  name 
originate  ?  ^  Is  it  true  that  it  takes  nine  tailors  to  make  a 
man,  and  if  so,  why,  forsooth?  ^  These  and  scores  of 
equally  intere^ing  que^ions  find  answers  here.  Open  it  at 
any  page  and  you  will  see  something  you  have  wanted  to 
know  all  your  life. 

PRACTICAL    PALMISTRY      The  hand  shows  the  man. 
By  Henry  Frith  but  many  who  believe  in 

palmi^ry  have  found  no 
ready  access  to  its  principles,  fl  This  little  guide  to  it  is  com- 
plete, trustworthy,  and  yet  simple  in  arrangement.  ^  With 
this  book  and  a  little  pra(ftice  anyone  may  read  character 
surely,  recall  pa^  events,  and  foreca^  the  future.  ^  Fully 
illu^ated. 

CIVICS :  This  book  answers  a  multitude 

What  Every  Citizen      of  que^ions  of  intere^  to  every- 
Should  Know  ^P^-  ^  It  gives  intelligent,  con- 

By  George  Lewis  ^*^^'  ^"^  complete  information 

on  such  topics  as  the  Monroe 
Dodlrine,  Behring  Sea  Controversy,  Extradition  Treaties, 
Basis  of  Taxation,  and  fully  explains  the  meaning  of  Habeas 
Corpus,  Free  Coinage,  Civil  Service,  Au^ralian  Ballot,  and 
a  great  number  of  other  equally  intere^ing  subjects. 

»3 


LAW,  AND  HOW  TO  Mo^   legal   difficulries    arise 

KEEP  OUT  OF  IT     ^ro"^  ignorance  of  the  minor 

By  Paschal  H.  Coggins,  Esq.  Points  of  law.   ^  This  book 

furnishes  to  the  busy  man  and 
woman  knowledge  of  ju^  such  points  as  are  mo^  likely  to 
arise  in  every-day  affairs,  and  thus  protecfts  them  again^ 
mental  worry  and  financial  loss.  ^  Not  only  is  this  informa- 
tion liberally  given,  but  every  point  is  so  explained  and 
illu^ated  that  the  reader  will  not  only  underhand  the  law 
on  the  subjedt,  but  cannot  fail  to  remember  it. 

CLASSICAL  DICTIONARY  All  literature  abounds 
By  Edward  S.  Ellis,  A.  M.  in  classical  allusions,  but 

many  do  not  underhand 
their  meaning.  ^  The  force  of  an  argument  or  the  beauty 
of  an  illu^ration  is  therefore  often  lo^.  ^  To  avoid  this, 
everyone  should  have  at  hand  a  complete  dictionary  such  as 
this.  ^  It  contains  all  the  classical  allusions  worth  knowing, 
and  they  are  so  ready  of  access  as  to  require  little  or  no 
time  m  looking  up. 

PLUTARCH'S  LIVES  Plutarch  was  the  mo^  famous 
By  Edward  S.  Ellis,  A.  M.  biographer  and  one  of  the  mo^ 

delightful  essayi^s  who  ever 
lived,  fl  To  him  we  are  indebted  for  an  intimate  acquaint- 
ance with  many  famous  Greeks  and  Romans  who  made 
hi^ory  and  who  ^11  live.  ^  This  book  is  a  condensed  form 
of  the  original  *'  Lives."  ^  All  the  personages  likely  to  be 
inquired  about  are  mentioned,  and  what  is  told  of  them  is 
ju^  what  one  mo^  wishes  to  know. 

14 


THE  DOG  Every  dog  owTier  should  know  how  to 
By  John  Maxtec  choose  a  dog,  how  to  house  and  feed  him, 
how  to  exercise  and  train  him,  and  how  to 
get  him  back  to  condition  if  he  is  out  of  sorts.  ^  All  the 
essentials  of  dog  keeping  are  here,  from  kennel  to  show- 
bench,  and  from  biscuits  to  flea-bane.  Q  For  the  one  who 
wants  a  cheap  but  expert  dog  encyclopedia  in  little  space 
this  is  the  only  book. 

QQLp  Golf,  to-day,  is  a  synonym  for  "  out- 

By  Horace  Hutchinson  doors "  to  thousands  of  busy  people. 
^  This  ^andard  book  gives  a  com- 
plete hi^ory  of  the  game,  together  with  m^rudtions  for  the 
selection  of  implements,  and  full  direcflions  for  playing. 
^  Much  intere^ng  information  relating  to  celebrated  links 
and  famous  players  is  presented.  ^  A  convenient  glossary, 
together  with  the  rules  and  etiquette  of  the  game,  is  ap- 
pended. 

HEALTH  :    HOW  TO  What  is  the  use  of  dumb 

GET  AND  KEEP  IT      hells  every  morning  and  rigid 

By  Walter  V.  Woods,  M.  D.  dieting    three    times    a    day 

when  there  is  an  open  drain 
in  the  cellar  ?  ^  Why  shield  the  baby  from  draughts  and 
then  feed  him  on  infected  milk  ?  ^  Do  you  know  the  things 
that  make  for  Health  ? — proper  exercise,  re^,  bathing,  eat- 
ing, ventilation,  and  good  plumbing — these  are  only  a  few 
of  them  ?  ^  This  book  tells  what  Health  is,  what  makes  it, 
what  hurts  it,  and  how  to  get  and  how  to  keep  it. 

IS 


FII^ST  AID  Lives  can  be  saved  and  much 

TO  THE  INJURED      suffering    prevented     by     the 

By  F.  J.  Warwick  ^udy  of  this  work,  fl  What 

to  do  in  all  kinds  of  accidents, 
as  well  as  in  the  fir^  ^ages  of  illness,  with  a  brief  and  simple 
^atement  of  the  human  anatomy,  con^itute  the  chief  features 
of  the  book.  ^  It  is  written  in  a  plain  and  simple  way,  easily 
underwood,  and  its  value  is  further  increased  by  its  copious 
illu^rations. 

NURSING  Every  household  has  its  serious  illnesses. 

By  S.  Virginia  Levis  but  few  families  can  afford  a  profes- 
sional nurse.  ^  This  book  is  the  next 
beft  thing,  better  in  some  respedts,  as  anyone  can  easily 
follow  its  in^rudlions,  and  when  once  learned  they  are 
always  available.  ^  The  fullest  particulars  are  given  for  the 
care  of  the  sick  in  all  the  simple  £is  well  as  the  serious  ail- 
ments of  life. 

ELECTRICITY  An  intere^ng  and  thoroughly  reliable 
By  George  L.  Fow!er  presentation  of  the  subjecft  for  the  ama- 
teur or  skilled  elecflrician.  ^  If  you  wish 
to  in^all  an  eledric  door-bell,  con^udl  a  telephone,  wire  a 
house,  or  underhand  the  workings  of  a  dynamo,  this  volume 
will  furnish  the  required  information.  ^  A  practical  book  of 
inestimable  value  to  everyone. 

i6 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 


LOAN  DEPT. 


RENEWALS  ONLY— TEL.  NO.  642^405 
This  book  is  due  on  the  last  date  stamped  below,  or 
on  the  date  to  which  renewed. 
Renewed  bsrk^are  subject  to  immediate  recall.  r 


DEC 


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THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


